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art library-

Archaeological survey of egypT

Edited by F. Ll. GRIFFITH, MA, F.S.A.
IWTB MEMOIR

BENI HASAN

PART III.

F. Ll. GUIFFITH

WITH TEN COLOURED PLATES
HFECIAL PUBLIC AT fOlS OF THK EGYPT BXPLORATIOS FVKD

LONDON,

eoLi> AT

Tui OFFICES OP THE EOWT EXPLOBAtrON ITUSD, S7, OwuT Kossbll STUgrt, W.G,

USD *t 16, BtAUKKH Srwin. Boanm. Mua., O.H.*.;

AST. Bi KKQAN PAUL. TRBNOfi. TEUBl*aR A CO, Patkiwwtwi Boot. f.i*i.r.ii Ckom Road, W.C.

B. QUABITOH. 16. PrecA»iu.i, liV.

ASilER A Gti., IK, Butfou teim; Qovbti Gaiujbm, W.r

pnsmtni to tb»

«•

ARCHAEOLOGICAL SURVEY OF EGYPT

Edited by F. Ll GRIFFITH, M.A., F.S.A.

FIFTH MEMOIR

BENI HASAN

PART III.

F. Ll. GRIFFITH

WITH TEN COLOURED PLATES

» w • V «
w • «»

V « * V V

SPECIAL PUBLICATION OF THE EGYPT EXPLORATION FUND

\. ^ ^

s ••

LONDON:

SOLD AT

The OFFICES OF THE EGYPT EXPLORATION FUND, 37, Qekat Eusskll Stbbbt, W.C,

ASD AT 15, Blagden Stbebt, Boston, Mass., CT.S.A.;

AND BT EEGAN PAUL, TKENOH, TKUBNER & CO., Paternoster House, Chabing Cross Road, W.C

B. QUARITOH, 15, Piccadilly, W.

ASHER & Co., 13, Bbdfosd Strbit, Coybnt Gabdbn, W.C.

1896

EGYPT EXPLOBATION FUND.

predident

SIE JOHN FOWLEE, Bart., K.C.M.G.

Sir K Maunhe Thompson, K.C.B.,D.C.L., LL.D.

Major - General Sir Fiuncis Grenpell,
G.C.M.G., ELC.B.

The Rev. Prof. A. II. Sayce, M.A., LL.D.

Charles Dudley Warner, Esq., L.H.I)., LL.D.
(U.S.A.).

The Rev. W. C. Winslow, D.D., D.C.L.
{H(m. Treas, and Hon, Sec, U.S.A.).

The Hon. Chas. L. Hutchinson (U.S.A.).

Sir J. WiiLiAM Dawson, D.GL., LL.D., F.R.S.
(Canada).

Prof. G. Maspero, D.C.L. (Fmnce).

Prof. Ad. Erman^ Ph.D. (Germany).

' Josiah Mullens, Esq. (Australia).
M. Charles Hentsoh (Switzerland).

Don. Ztcnentcte.

H. A Gruerer, E.^., F.S.A. The Rev. W. C. Winslow, D.D., D.C.L. (Boston, U.S.A.)

Clarenck H. Clark, Esq. (Penn. U.S.A.).

Aembere of Commtttee.

T. H. Baylis, Esq., M.A., Q.C., V.D.

Somers Clarke, Esq., F.S.A.

J. S. Cotton, Esq., M.A.

W. E. Crum, E.sq., M.A.

^r. J. DE Morgan {Birecteur GcnSral dee Anti-
quites de VE(jypie),

Sir John Evans. K.C.B., DC.L., LL D.

AhiMUR John E"ans, Esq., MA., F.S.A

W. Fowll'r, Esq.

F. iL ukitf .1 1!--.^., M.A., FSA.

Mis. F. Lr>. CjiiiFFiij.

T. Farmer Hall, Esq.

John Horniman, Esq., M.P.

Mrs. McClure.

The Rev. W. MacGregor, M.A.

A. S. Murray, Esq., LL.D., F.S.A.

D. Parrish, Esq. (U.S.A.).

Francis Wm. Peroival, Esq., F.S.A.

F. G. Hilton Price, Esq., F.S.A.

JklRS. TiRARD.

1^'E R:v. H. G. ToMKiNS, M.A.
TnB Rt. IiEv. The Lord Bishop of Truro.
pKor. L\ C. TtloE; D.C L.
IJEKM.ANN Weber, Esq., M.D.
Major-General Sir Charles Wilson, K.C.B.,
K.C.M.G., F.R.S.

^ n 2- ^ O

BENI HASAN.

PAET III.

INTEODUCTION.

In this third vohime on the tombs of Beiii
Hasan is commenced the publication in fac-
simile of certain imporlant details from the
scenes and inscriptions, which are siiown in
outline only, and on a greatly reduced scale,
in Beni Hasan, I. and II. The wall-pictures
in tombs of the Middle Kingdom are usually
so roughly executed that but little more is to
be learnt from large-scale drawings than from
reductions to one-twentieth, such as form the
bulk of our first publication. But there are
exceptional cases, in which great care and
attention to minute details of depiction were
expended by the artist on a particular portion
of a tomb otherwise roughly executed, or in
which the artistic workmanship over one whole
monument rose far above the level of the art
displayed on those around it. Beni Hasan
affords an example of the first class of ex-
ception in the great south wall of the tomb of
Ameny. On this almost every line is sharply
defined, while in other parts of the tomb ill-
drawn figures carelessly smeared with a few
colours serve indeed a decorative purpose when
seen at a proper height and from a proper
distance, but will not bear close examination.
Again, the whole of the paintings in Tomb 3

(that of Khnerahetep) are neatly drawn with
a considerable amount of detail, and in places
their execution rises almost to the highest
level of Egyptian art.

For our present purpose, however, the south
wall of the tomb of Ameny affords by far the
best material. For the study of detail it is an
almost ideal example, the scale of the designs
being very large, while the workmanship is
minute. It is, morever, in a very fair state of
preservation. The same cannot be said of
Tomb 3, in which the colours and even the
designs are obscured by dirt ; the oil applied
to the walls by previous copyists to bi'ing out
the faded colours has remained on the surface
and caused the dust to adhere in a thin
coating, which cannot be cleaned off without
further injury to the paintings.

In studying Egyptian wall-painting the
question immediately arises how far the faith-
fulness and realism of the artists is to be
depended upon. Their bad work was often
very bad ; but their best work also was done
principally with a view to decorative effect,
and thus we see, for example, that the fins of
the fishes are often misplaced, the colours of
a bird may be taken from one species and

BENI HASAN.

the form from another, while everything is
considerably conventionalized. And although
the colouring often forma a valuable guide as
to the material of objects represented, yet in
some cases it is varied only to distinguish
different parts of a sign or to break up too
uniform a surface.

The Egyptian artist must often have worked
in comparative darkness, or with weak artificial
light, and it is marvellous that be could obtain
such results as he did. The copyist of to-day
labours under the same disadvantage, with
other disadvantages superadded. The designs
are obscured by injuries of every description
in the way of effacement and stains. It would
also seem that some of the mineral colours
have changed to a certain extent ; and if any
vegetable colours were used they have dis-
appeared entirely. These considerations may
perhaps explain how it is that the colouring
scheme often appears so primitive and un-
natural. Under the circumstances it is not
surprising if modern copyists obtain different
results from the same subject. Mr. Blackden
aimed at ascertaining the original design in a
somewhat diagrammatic style : Mr. Carter and
Mr. Brown copy faithfully what they see, and
render it in its present condition.

The subjects illustrated in the selections for
this volume divide themselves into two classes.
Those in the first class bear upon the history
of Egyptian writing, being selected examples
of the pictures which composed the hieroglyphic
system. The second class consists of details
from the scenes illustrative of the state of
culture in the valley of the Nile at the time
these tombs were made. The scenes have
afforded material to a succession of students,

who have examined them with more or less
care, but the archaeological accuracy which
considers variation of form and material in
the objects and implements depicted has not
entered largely into their work. The volumes
of Wilkinson, Rosellini, Champolhon, Prisse,
and Lepsius — to name only the older workers
— are valuable for suggestions in these matters,
but can rarely be fully relied upon in the
details. One of the most profitable Unes of
research to be pursued in Egyptology must
be based on the making and collecting of full-
sized facsimile drawings of the representations
of weapons, utensils, ornaments, &c., depicted
on the finest monuments of different periods in
Egyptian history.

With TLtgard to the writing, it is natural that
the details of the picture-signs should have
been slurred by students as much as those of
the scenes. The pictorial nature of the signs
has been treated by Champolhon, Birch, and
others, and the forms of a very large number
are now well understood; yet careful facsimiles
of good examples of even the commonest and
most obvious are valuable as conclusive evidence
of their meaning as pictures. The tombs of
Beni Hasan belong to a good period. It was
not until the XXth Dynasty that convention-
ality reigned supreme : until that time the
artist drew, whether roughly or carefully,
from his knowledge of objects around him,
and infused something of contemporary life
into his picture-signs as well as into his
scenes. He is often unintelligible to us, but
the study of these ten plates has thrown light
on many abstruse points, and continued ex-
amination should eventually provide a key to
all the puzzles.

A number of tpecial types have &aen executed fo
kindly made for Die purpose by Miu Paget.

the printing of the hieroglyphg in this volume, from drawingt

I. HIEROGLYPHS.

PLATES L— VL

The first six plates contain a selection of
hieroglyphic signs copied by Mr. Blackden in
1891 and by Mr. Carter in 1895 ; of these the
greater number are from the finely painted
south wall of the tomb of Ameny.^ Figs. 2, 23,
and 32 are from other parts of the same tomb ;
Figs, 6, 10, 14, 30, 35, 52, 60, 68; 87, 91, 96
are from the tomb of Khnemhetep, Tomb 3,
and Fig. 80 is from Tomb 17. Four of the
signs. Figs. 82-84 and 90, were copied by
Mr. Percy E. Newberry in Tomb 14.*

It is perhaps well to remind the general
reader that in the hieroglyphic inscriptions the
signs may have either a phonetic value express-
ing sound, or an ideographic value expressing
meaning. Very often a group of phonetic
hieroglyphs is followed by an ideograph which
defines more or less the meaning of that group ;
in that case the ideographic sign is called the
determinative.

A large number of the hieroglyphs shown in
Pis. i.-vi.. are taken from the great list of
offerings given on PI. xvii. of Beni Hasaiiy I.

* See Bent Hasan, I., Pis. xvii.-xviii.
' Tomb 17 is published in Beni Hasan, II., the other
tombs mentioned in Beni Hasan, 1,

In each of the three rows of inscription com-
posing this list the name of the offering is
written out at the top of the column, and a
picture of the object offered is placed at the
foot as a determinative. But these pictures
are more precise than determinatives are wont
to be in ordinary writing, and while many
of them are regular hieroglyphs, they must
not be considered as being all necessarily
such; some, however, of the more excep-
tional, viz. Figs. 21, 27-29, 38-40, 45, are
admitted into the plates on account of their
interest. We have called them ** picture-
determinatives."

There is also another class of hieroglyphic
signs, rare, and unnoticed in the grammars.
These may be termed " punning hieroglyphs " :
they have peculiar forms and values, and were
apparently invented in a playful moment by
the artist and scribe, who would write brief
and well-known formulae in them as a riddle
for the amusement of visitors. Good examples
of this class are found in Beni Hasan^ II.,
Pis. xiv. and xvi., and one of them is shown
in the present volume on PI. v. (Fig. 80). It
is hardly justifiable to include in this category
the rare signs Figs. 82-84 and 90, since the

B 2

BENI HASAN.

inscription in which they occur is otherwise
ordinary, and although we are as yet quite
unable to read them, they were probably signs
in regular use.

The most valuable contribution hithertio

made to the study of detailed hieroglyphs is
contained in Flinders Petrie's Medum^ which
gives many careful facsimiles from very ancient
inscriptions,^ dating from the time of the IVth
Dynasty.

PLATE I.

, read ^ Y (?) mahez, the symbol of the
XVIth nome of Upper Egypt. From the east
end of the south wall of Tomb 2 ; B. 27.,* I,,
PI. xvii., second line of inscription in large
characters over principal figure. Actual size.
M.W.B., 1891.

The sign is composite, consisting of (1) the
badge proper, namely, the figure of an oryx
standing before a bundle of fresh-cut food
^3 ; (2) the stand, ""^^ on which the emblem
was carried ; (3) the sign of territory, hbe, or
more particularly of a nome.

(1) The animal, >J5J, read mahez, is slightly
conventionalized, and it is impossible to say
whether the figure represents Oryx beisa or
Oryx leucoryx. It is of the male sex. The
horns are very slightly curved ; horns, hoofs,
fetlocks and the tip of the tail are black, the
rest of the body is white with buff under neck.

^ See especially the Frontispiece, Pis. i.-xxyiii., and the
fourth chapter of the work.

' In the descriptions . the initials B, H, refer to the two
previous memoirs on Bent Ra8an\ M.W.B., H.C., P.B.N.,
indicate that the copies were made by Mr. Blackden, Mr.
Carter, and Mr, Newberry, respectively.

chest, and belly; the eye is defaced and
indistinct. The bundle of food, ^, named
® nn khersh, consists probably of some kind
of tall grass : the top of the bundle is coloured
white to represent flowers, the stems are green.
The bundle is tied together with a string or
band, coloured white and fastened in a knot
suggestive of the sign «**=*\, which is indeed
probably derived from some such tie.

(2) The stand, ^^-^, read O^^^^ ^^ is
of the kind which was used to support all divine
symbols. It consists of a horizontal bar placed
on an upright, which meets it at a considerable
distance to one side of the centre, another bar
being fixed obliquely as a strut between the
upright and the longer end oE the horizontal
portion. Pendant from the top of the upright
at the other side of it are two long white
plumes with rounded black tips, and crossed
by curved black bands at intervals. At the
extreme end of the horizontal bar, on the same
side as the strut, is an object shaped ^, and
secured in place by a broad peg passed through
the bar. The whole of the stand, with the
exception of the plumes, is coloured red, as

HIEEOGLTPHS.

being of wood. The n 13 usual on all such
stands, but its significance is not very clear.
It seems to be identical with the sign j, the
alphabetic character for q. The form suggests
the slope of a hill, part of the " mountain "
signs Ci:^ or cy^.* But while n--'^ and CiJ are
coloured as pebbly desert, pink speckled, n is
green (in Tomb No. 3, P. E., I., PL xsviii.,
where Ci£=a and n can be compared). The green
colour probably indicates vegetation : and as
the word j''^° qat, from qa, " high," means
the higher cultivable land of the Nile valley,
we may suppose that n was originally the
Bymbol for that kind of land, and hence
obtained its value q : in the same way as the
hand, t:sj (Fig. 53), obtained the value d from
det. and «-=■ the value A^ from , in

each case the radical only being retained and
the feminine ending ignored. Having now
obtained the general significance of the sign
n, we may perhaps be able to discern its
meaning in connection with the nome-standard.
The ^EE beneath the ""^f signifies cnltivable
land, and although the oases were from early
times connected with certain nomes, there is

nothing to show that strictly speaking the nomes
themselves ever extended into the desert. The
probability is, therefore, that, as the n is placed
at the outer end of the standard, it aymbolizea
the slope from the valley to the desert, which
formed the boundary of the norae.

(3) The symbol of territory, ^H, read
1 _^^ spf, appears as a black openwork
frame forming two rows of rectangles, four to
each row. The black colour not improbably
indicates the black alluvial soil of the Nile
valley, and ^mff is evidently a plan of sub-
divided land, or a figure of subdivision in
general by means of straight lines. The
principal field-measure, the arura, was mathe-
matically a square of 100 cubits, but its
hieroglyphic picture was an oblong rectangle,
c=i; therefore it seems likely that the symbol
is a plan of land duly measured, or perhaps
divided up by dykes for purposes of irrigation.

The Egyptian name of the oryx, without dis-
tinction of species, is mahez, and this appears
to be the reading of the entire sign, ^3 ;
the name of the nome is of the masculine ^^
gender.

PLATE II.

Fig. 1. Flying duck, ^; read a^ po.
From east end of south wall of main chamber
in Tomb 2 ; B. H., I., PI. xvii., top row of

' The picturn ot a slope or liiU spsumcB ihc fomi of /} in
Lanione, Papyrut du Lac Mueru, pi. i.

great list of offerings, sixth column from left.
About one-half actual size.* M.W.B., 1891.
The bird has its legs bent as if it had just

' The hieroglyphs on Pk ij.-vi. are all reduced to about one-
half size, Willi flight vuriations of sCiile iu the dilfurent plates.

Bent Hasan.

risen from the water or was about to settle.
The figure is very hybrid and conventional, the
tail alone being actually distinctive ; the rest
of the details are indeterminate. The tail is
that of the pintail duck, Dafila acuta^ a dull-
coloured species which is common in Egypt.

The verb p«, the full form of which is perhaps
pay^ in Egyptian means " to fly,"
hence this hieroglyph obtains its phonetic value
as the common syllabic for pa.

Compare Fig. 8.

Fig, 2, Plover (species?), bustard (?), ^ .
From south-west wall in shrine of Tomb 2;
B. jff., I., PL XX., lowest row, group j^.
H.C., 1895. "

The drawing in the shrine is by no means
equal to that on the south wall of the main
chamber. The original outline of the bird was
in red, and has been corrected by the artist in
colouring the figure, the first line being clearly
visible above the back. The length of the legs
seems to indicate some species of plover.

This is a rare sign, and the reading of it
is uncertain. The group in which it occurs
evidently designated the office of one of the
chief functionaries on the estate of Amenemhat,
the bearer of the title being followed by the
steward of the " white house," or store. The
sign is perhaps identical with that read vb by
W. Max MiJLLBE,^ but the group in which it
occurs recalls the title

remi, "fuller.''

Fig. 3. Plover (species ?), ^^ ; read J ^^
ha. From east end of south wall in main
chamber of Tomb 2 ; B. fl., I., PI. xvii., lowest

_ I, I - ■ ^ . -

^ Recueil de Travaiux^ ix.j 163.

row of great list of offerings, seventh column
from right. H.O., 1895.

This sign usually shows a coloured feather
or tuft projecting from the front of the bird's
neck just below the head, as here, or from the
breast.

The sign represents the common syllabic ha.
The root ha has the meaning of a soul in bird
form ; it was therefore probably at one time
the name of an actual bird .

Compare Fig. 10, and Peteie, Medum^ PI. xiii.,
lower left-hand corner, group ^^ A ^ (without
tuft).

Fig. 4, Crested ibis (species?), '^^; read
(] ® ^^ «^. From east end of south wall in
main chamber of Tomb 2 ; B. ff., I., PI. xvii.,
inscription in second row from top depicting
human figures, group R "^^ ® ^J^T^- ^' ^-B.,
1891.

The bird is highly conventionalized.

The sign is used to spell the root a^, which
occurs with the meanings: (1) *' brilliant,"
also "excellent," "useful"; (2) the glorified
spirit of man after death. As in the case of
the ha (Fig. 3), this spirit also was perhaps
considered to exist in a bird form.

Fig. 5. Name of the goddess Hathor, ^ ;
read 8^8 <=> Het-Her. From west end of
south wall in main chamber of Tomb 2;
B. jff., I., PI. xviii., second line of inscription
in large characters over the lady Hetept.
M.W.B., 1891.

The sign is composite, consisting of J Het^
and ^. Her. I 1 is clearly the plan of some
structure. The word het, which it represents,
appears to have been used especially of a place

HIEROGLYPHS. Pl. II.

where there were a number of buildings within
one enclosure wall, as in the case of temples
and fortressea, and the sign seems to represent
the enclosure in plan. The structure indicated
at the corner is curious ; apparently it marks a
strongly fortified entrance.^

^^, the symbol of Horus, is probably the
sparrow-hawk. The bird in Peteib, Medum,
frontispiece, figs. 1, 8, is almost certainly tlie
eagle, tiu (compare Fig. 13, below).

Set-Her, " house of Horus," appears to have
been the name of the goddess as nurse or
mother of the infant god.

Fig. 6. A goose (species ?), ^^l read
"^^J, fflj G(;t(?). From extreme east end
of south wall of Tomb 3 ; B. H., I., PI. sxxv.,
third line of the large inscription over
Khnemhetep. H.O., 1895.

This bird, if really distinct from ^^ sa, U
perhaps to be found only in the name of the

Fig. 7. An owl, ^i ; read ?«, From one
of the large inscriptions on south wall of main
chamber in Tomb 2; B. H., I., Pis. xvii. and
xviii. M.W.B., 1891.

The species represented is evidently the barn
owl, Sirix flammea.

The sign is used as an alphabetic character
for m, and it is not known to occur in any other
sense in ordinary hieroglyphics.

Compare Peteie, Medum, frontispiece, fig. 2.

Fig. 8. Flying duck, AK; read^a. From
east end of south wall in main chamber of

MjsFKBO, Proe. Soc. Bib, Arch,, lii,, 247.

Tomb 2; B. E., I., PI. xvii., middle row of
great list of offerings, seventh column from
left. M.W.B., 1891.

Compare Fig. 1, the description of which
applies also to this.

Fig. 9. Swallow (?), ^^5; read % <=> '"■•
From south wall in main chamber of Tomb 2 ;
J3. H., I., PI. xvii., middle of lowest row, group
^. M.W.B., 1891.

The bird is perhaps intended to represent
one of the wagtails ; the shield-shaped dark
patch on the breast is especially characteristic
of some members of that tribe. In hieroglyphics
the m- bird always has the tail more or less
forked, in contrast to the sher bird, which
signifies smallness, worthlessness, that which
is evil. The only known meaning of ur is
■"great," and it is difficult to connect this idea
with the form of the sign '^a.

Compare Fig. 14, and Pkteik, Medum, frontis-
piece, fig. 4.

Fig. 10. Plover (species?), «&*; read Ini.
From centre of east wall in main chamber of
Tomb 3 ; B. H., I., PI. sxsiii., top line, group
^1^^|J. H.O., 1895.

Compare Fig. 3, the descrlptiou of which
applies to this also.

Fig. 11. Fat duck, ^^; read % oo
ush (?), ^ ^ ^ ajdu (?). From south wall
of main chamber in Tomb 2; B. H., 1., PI. xvii.,
inscription above procession of Mer-heb priests
in third row from top, group ^^ i • H.C.,
1896.

This bird is perhaps a garganey teal, Quer-
qiiedula circia. But the species is immaterial ;

8 BBNI.

the full crop, indicating good feeding, is the
important distinction.

If the sign reads opdit, it means merely
"water-fowl"; but in Tomb 3 (B. E., 1.,
PI. xxvii.), where it is rather more plainly
coloured, it stands for the verb %i(=sED, and
means " fatten by artificial feeding." Hence
the reading of ^^^ i may possibly be ushu, and
it may mean " fat water-fowl."

Fig. 12. A goose, "^j read — "^i sa.
Prom east end of south wall in main chamber
of Tomb 2 ; B. S., T., PI. svii., in tenth column
from left of lowest row in great list of offering 9 ;
group 1"^. H.C., 1895.

This bird is different from that which is
usually depicted in the aame tomb to represent
the same value, sa, in "^^j "son": it rather
resembles the '.Te&-bird,

Compare Fig. 6, and Peteee, Meduni, PI. xii.,
where the bird is sa, " son."

Fig. 13. Egyptian vulture, Neophron perc-
noplerus, ^^ ; read a. From east end of south
wall in main chamber of Tomb 2; B. H., I.,
PI. xvii., great list of offerings. M.W.B.,
1891.

The colouring is indeterminate, but the naked
flesh round the base of the bill is a great help
to the identification.

The sign is used as an alphabetic character
with the value a ; sometimes the syllabic for tiu
has nearly the same form, but in later times
the latter is often clearly distinguished by a
tassel on the breast.

Compare Petbie, Mediim, PI. xiv,, group
[I ^ . The sign in the frontispiece, figs. 1
and 3, is quite different : this can hardly be

the hawk of Horus, it must be the eagle tiu,
and shows that there is a radical distinction
between the sign for a and the sign for tiu, the
two values being represented by two species
of bird as early as the IVth Dynasty.

Fig. 14. A swallow (?), ^5; read ur. From
south end of east wall in main chamber of
Tomb 3; B. H., I., PI. xxxiv., top line. H.C.,
1895.

The bird is very hybrid, but the characteristics
of the ur sign are sufficiently observed.

Compare Fig. 9 for a description of a similar
sign.

Fig, 15. Chick, ^; read u. From east
eud of south wall in main chamber of Tomb 2;
B. II., I., Pis, xvii., xviii., great list of offerings.
M.AV.B., 1891.

This sign clearly represents the young of a
partridge or quail : the domestic fowl was
of course unknown in ancient Egypt. As a
picture, and not as representing phonetic
value, the same or an almost identical figure
is depicted in tombs of the Old Kingdom,
apparently as the representative of the full-
grown quail. In the tomb of Ptahhetep, as
given in Dumichkn, Uesullaie, PI. ix., bottom
row, we evidently have the figures of the zat,
or crane, the se(-duck (sheldrake ?), the aer-
duck (teal?), the menut, turtle-dove, and the
pari, or quail, in proper sequence, as they are
given in a list contained in the Rhind Mathe-
matical Papyrus (see Proc. Soc. Bib. Arch.,
xvi., 244).

^ as a hieroglyph is known only as the
alphabetic character for u.

Compare Petiue, Medum, PI. xi., and passim.

HIEROGLYPHS.

PLATE III.

Fig. 16. Clump of papyrus, W; read § ^^
ha, and ^^ mht. From east end of south
wall in main chamber of Tomb 2 ; B. If., I.,
PI. xvii., in eleventh column of top row in
great list of offerings, group ^ "W. M.W.B.,
1891.

The flign consists of the representation of
a group of three flowering stems of papyrus,
Gijpenis papyrus, highly conventionalized aa
usual in Egyptian art, springing from a scaley
sheath standing upon, i.e. in, blue-coloured
water or ground.

The papyrus being selected as the plant
characteristic of Lower Egypt, this sign is
read mehi, " north." "W is the ordinary
syllabic for 8 ^\ Aa, but the origin of this
value is uncertain. In the absence of a better
explanation, we may perhaps suggest the
following. The principal meaning of ha is
" behind," often with the sense of protection
at the back of a person, as it were a shelter.'
In the paintings the papyrus clump constantly
forms the screen used by fowlers when lying in
wait for game, or shades the fisherman from
the rays of the sun while he splits fish for
drying. In the level land and marshes of the
Delta the papyrus would naturally afford the
most obvious and available shelter. Although
"TJ?" has in the present instance the value of
meht, more usually it stands for the syllable
ha; while Jf (with lateral stems bent down) is

' Compare eapeciallj the word '^ "^ '
" defence."

used for (1 ^=3 I ndh, the "papyrus marshes"
of the north of Egypt, and ^ meht, " the
North,"

Of late years several leading Egyptologists
and others,* not making suQicient allowance
for the conventionality of Egyptian drawing
aud overlooking many clear proofs of the real
nature of the plant indicated by 'W, have
refused to recognize the papyrus in it, and,
seizing upon some of the hybrid characteristics
introduced by the ancient artists, have en-
deavoured to prove that it was meant for
some species of lotus, or other flowering plant
without affinity to any sort of reed, As the
single stem, j, forms an important element
in Egyptian decorative art, architectural and
other, it is worth while to point out that
however inadequately the signs j and 'W may
represent papjrus plants, stems, and umbels,
it is certain that the Egyptians intended thom
to do so.

If wo look at Egyptian representations of
marsh scenes we see the j introduced almost
uuiversally, often in groups, pretty much aa in
the hieroglyph 't|r or ¥ : tall, and screening
the fowler from the view of his intended
victims, or the fisherman from the rays of the
sun. In other cases we may see birds and
animals perched on the tops of the plants, or
climbing up the stems; or again we have
scenes in which the stems are gathered in

* GuoDiTEAR, Grammar uf Uie Lolii*, pastiin ; LEf^ouHB,
in Sphiiue, I., p. 1, ttgeq.; to a certain degree also Pstbie,
Egifplian Decorative Arl, pp. HI, 76.

BKNT HASAN.

large bundles, and canoes are built of them.
It is hardly necessary to refer to any particular
scenes for such representations ; they are to
be found in every collection of drawings from
the tombs. Good examples may, however, be
seen in Petbih, Medum, Pis. sii. and xxii.;
Beni Hasan, I., Pis. sxxii. and xxxiv. ; El
Bersheh, II., PI. xvi. ; raheri, PI. iv. ; h. D.,
ii., 12.

A priori, there would be a very strong pre-
sumption that this tall marsh-plant, with its
simple stems, could be nothing but the great
reed which was one of the moat valuable and
conspicuous products of the whole land. Its
luxuriant growth in the marshes, its height,
and the use to which it was put for building
canoes, are alt in favour of this view. And as
if to remove all doubt from our minds, we find
in the decree of Canopua that the T sceptre
held by goddesses is designated in the Greek
version tTKiq-rrrpov naiTvpotiBts, "papyrus-like
sceptre."

The critical readur, however, although he
may assent cordially to the a priori probability
of the identification, will find a very great
difficulty in the form of the head of the T.
The inflorescence of the papyrus is a some-
what globular umbel, consisting of thin fila-
ments starting from the top of the tall stem,
and hanging over evenly on all sides; also, the
bracts at the base of the umbel are far larger
than those that are generally shown in the j .
These objections are certainly of considerable
weight, especially as the form of the head is
constant in all the representations, and the
peculiar bracts are rarely absent.

Yet it is not necessary to go far in search of

an explanation,' The papyrus head has three
main forms, or stages. When mature it is as
above described, with minute flowers upon the
filaments. When quite young the umbel is a
straight tuft enclosed in a sheath of long
bracts. Gradually the head widens until at
one stage it assumes a form very closely re-
sembling the head of the T, the filaments
being still stiff and straight, and the bracts
nearly as long as the filaments. Thereafter
the filaments grow longer and longer, and
begin to droop over until at length the mature
form ia reached.

From want of training in perspective,
Egyptian artists were quite incapable of re-
presenting the complicated lines of the mature
inflorescence : they were always compelled to
seek solidity of form for the sake of outline.
Fortunately for them the papyrus umbel in
the earliest stage of its development offered
this quality, and in Egyptian drawings the
young bud jj is common, interspersed with
the j . But the second stage aff"orded the best
general type within their scope, although when
growing this particular form is lost among the
crowd of maturer umbels. It should also be
noted that the filaments are visible in all large-
scale representations of the j. Moreover, the
immature stem of the papyrus was particularly
appropriate to the notion of " green, flourish-
ing, vigorous," symbohzed by j, and this again
may have helped the artist to be satisfied with
his selection of the type.

' From a report iii the Revue ArchMogique it appears that
Joret haa already given a similar explanation to the one here
given, in a paper read before llie French Acad&nie des
Insutiptiona (silting of October 30ih, 1895).

It would seein as though the finest artists of
the Middle Kingdom, knowing their own liraita-
tioDS, had avoided representing the papyrus in
the scenes. The artist who decorated the tomb
of Tehutihetep at El Bersheh rejoiced in de-
picting the lotus exquisitely by line and tint,'
but shrank from attacking the perspective of a
papyrus head in full flower. He was obviously
dissatisfied with the stiff convention which he
had been taught to recognize as the equivalent
of the " paper-reed," but he knew not how to
draw except in diagram, and wisely left alone
what clearly lay beyond his skill/

Such is the explanation of the general form
of w* and j. Two minor details, the short-
ness of the bracts and the brownish colour
generally given to the upper edge of the umbel
are doubtless matters of convention. As to
the first, other flowers usually have short
bracts or calices, and Egyptian drawings are
often hybrid in detail. As to tlie second,
the tips of the filaments or peduncles of the
papyrus turn down as the flower matures,
and are quickly affected by cold, and on this
aocount a brown edging may have been re-
garded as a characteristic of the plant. If the
papyrus had become extinct, how utterly all
attempts to realize its appearance from the
Egyptian drawings would have failed !

Lastly, if the head were really imitated from
some species of lotus, why do we not find this
lotus pictured low-growing on the surface of

HIEB06LTPHS. Pl. IH. 11

the water, as the blue and the white lotus often
are. The filaments and the brown edging of
the T can have no analogies in the
flower.

Compare j, in Petrib, Medum, PI. xxi.

' El Benheli, I., Fruiitistiiece aiiU I'l. xxi.

■ He omits tlio pupyrus entirely from its accustomed
place iu tLe fowling and fialiiug scenes of the inner chuuiber.
It se'emB, however, to have been ehown in the scenes of the
outer chamber, M Bemheh, I., p. 14 and PJ. viii.

lotus

Fig. 17. 4*4- ' ^"^'^ -^w" "^'*' ^^o'^ ^^^^
end of south wall in main chamber of Tomb 2 ;
J?. H , I., PI. xvii., eighteenth column from
right in middle row of great list of offerings.
M.W.B., 1891.

This is evidently a figure originally drawn
from plant life, but what plant it was intended
to represent it is difficult to say; the Egyptians
were certainly not adept at representing any
plant bub the lotus. The single sign here
duplicated shows a stem, which together with
its two lateral branches is tipped with red,
and may have been intended for the tender
succulent sprout of some herb that springs up
from the earth tipped with pink or brownish-
red ; we find iu fact a plant-name, 4-4- "^
nen, which must be the origin of the value nn
for A.A.. This is believed to be the radish,
Baphanus sativus, specimens of which have
been identified amongst the Xllth Dynasty
remains at Kahun.'

The single form 1. is read J L one mean-

ing of which is given by BauosoH as "the
flower of the lotus " ; but Erman attributes to
it the meaning of " a bud."

Fig. 18. Writing outfit,
and I " snaa, Icsszi sesh.

read — ■" nod,
c. From east

' LoRBT, La Flore Pkai-aonique, Second £dition, p. 108.

NKWBEfiRV in Petkie'8 Kahun, p. 50.

end of south wall in main chamber of Tomb 2 ;
B. E., I., PI. svii., towards left of lowest
register, group ]^ | ^ |- M.W.B., 1891.

The outfit consists of — (1) A palette, coloured
black and having two circular hollows, the one
cup being intended for black and the other for
red ink. The line painted across each probably
represents a groove for securing the cake of
ink in place. (2) A little globular water-pot,
DO doubt carefully stoppered. (3) A long,
narrow piece of wood, flat, partly covered in
the middle with a band or wrapping of
leather (?), and channelled to hold a set of
reed pens, which it would protect from injury.
These three articles are held together by cords
in such fashion as to facilitate their being
slung over the left shoulder of the scribe, the
palette being suspended from a long cord and
hanging down in front, and the ink-pot and
pen-case — or the pen without the case — hang-
ing at the back. Two statues of the noble
scribe Amenhetep, from Bubastis {BuhasfiP,
Pis. xiii. and sxv. u), are excellent illustrations
of this method of carrying the writing outfit.

The meanings of the words written with this
sign are "scribe," "to write," "to paint," &c.

Compare Peteik, Medmn, PI. xxiv.

! a very unusual form of

Fig. 19. A plant, \
east end of south wall
Tomb 2 ; B. H., L, PI
but one, group ' ^ . M.W.B,

;^-

read R \I kn. From
in main chamber of
xvii., lowest register
1891.
The artist seems to have attempted the
drawing of a typical flowering grass or rush,
but plant forms are so very strangely and
conventionally rendered m Egyptian drawing,
that any yellowish flower may have furnished

BB1?I HASAlfr.

the model. This is ;
the hieroglyph ■^.

The sign ■^, syllabic for Aw, is also the
common determinative for names of plants
and their parts.

Compare peculiar form in Peteib, Meilum,
PI. XV., S "^ "t, which is in the same style of
drawing as the ])lant8 on Pis. xviii. and xxiii.

Fig. 20. The plant of the South, ^; read

<z=> P res, and n 1\ d qema. From east end

of south wall of main chamber in Tomb 2;
B. H., I., PL xvii., eleventh column from left in
great list of offerings, group ^ W. M.W.B.,
1891.

This sign evidently represents a plant
sprouting out of a patch of marsh or water,
which is coloured blue. It consists of a
central and tall stem, and of four lateral
stems, each being tipped with what appear to
be three small reddish flowers. Mr. Brown,
of the Royal Gardens, Kew, considers that it j
may be meant for some kind of scirpus—

Both phonetic values of this hieroglyph
signify " southern," or " South Country," and
it is clear that whatever it may have been in-
tended to represent, the plant was at any rate J
selected to symboHze the South Country, orl
Upper Egypt.

Compare ij in 'p, Petrie, Medum, PI.
(not coloured).

Fig, 21, Stand with food, |^ ; read
^ ^ I [at lideh. From east end of south
wall of main chamber in Tomb 2; B. H., I.,
Pl. xvii., towards left of lowest register, group
I^Ij^. M.W.B., 1891.

The figure shows a plain wooden stand with

inEROGLTPHS. Pl. III.

short legs and straight cross-bar. Upon the
stand lies a brownish conical loaf and a cir-
cular white cake, while in the middle is a blue-
coloured jar for ale or water, standing in a red
vase with a blue rim.

Tbe meaning of the word udek is a table for
food, whether for human use or as a table of
offerings for deities.

Fig. 22. Thong or cord, looped at either
end, ^=>; read Ih-. From east end of south
wall in main chamber of Tomb 2; B. H., I.,
PI. xvii., great list of offerings (reversed in
Fig. 22). M.W.B., 1891.

The strap represented was perhaps of leather,
coloured green.

This is the common alphabetic sign for th,
and occurs only as such.

Compare = in ^^P , Tetrie, Medum, PI. xii.

Fig. 23. Fishing boat, -^ ; reatl ^ | a

iihd. From north wall of shrine in Tomb 2;
B. H., T., PI, six., lowest register, group
^^. M."W.B., 1891.

The drawing and colouring on this wall is
very inferior. This particular hieroglyph re-
presents a light boat, on the water, and con-
taining a net.^

The meaning of the word uka is " to catch
fish or water-fowl," but the sign is used also
for many other words having the same pho-
netic elements with different meanings.

Fig. 24. A lizard, ^K ; read " "^
asha. From south wall of main chamber in

' The curved yellow lines are due to an unfortunate
raUunderstauding in the reproduction of Mr. Blackden's
dnwiag.

Tomb 2; B. H., I., PI. xvii., second register
from top, right-hand end, group '^'^. M.W.B,,
1891.

The sign represents a green lizard with a
slight cresting upon its tail. This cresting,
though represented as if on the side, should no
doubt be interpreted as on the back of the tail.

The only meaning of the word asha is

' numerous.

Fig.

25.

Symbol of the West, ft ; read
Ament. From east end of south wall in
main chamber of Tomb 2 ; B. H., I., PI, xvii,,
sixth column of second row in great list of
offerings. M.W.B. 1891.

The figure is difl5cult to analyse. The part
most essential to the sign, and at the same time
the most intelligible, is the ostrich feather. It
is fixed obliquely in a blue o, which possibly
represents a cairn, or a mound of earth, and
this rests upon a i, which is coloured red and
is probably of wood. In this instance the I
is provided with three cross-bars, but usually
they are absent.

The sign means "right-hand" and "West,"
tbe cardinal points being fixed by the observer
facing the sun at noon.

Fig. 26. Symbol of the East, f; read(]J«i,
From same group as Fig, 25. M.W.B., 1891.

The sign represents apparently a wooden
stand or table with two white discs lying on it,
one at either end, and two ostrich feathers set
upright between them. The feathers are not
essential to the sign. From the point at which
tbe leg of the stand is inserted there hangs
on either side of it a white plume with black
markings. It is possible that the "discs" re-

BENI HASAN.

present perforations, since O qrrt = a ** hole."
This sign means " left," and '' East/'

Fig. 27. A bag, %\ read q. From east
end of south wall in main chamber of Tomb 2;
B. R.y I., PI. xvii., centre of top row in great
list of offerings. H.C., 1895.

The sign is doubled to indicate that there
were two bags. Both held green eye-paint,
according to the inscription, but the one with
black hues may have held stibium in reality.
They are clearly of skin or leather, sewn at
the side and fastened at the top by a strap or
thong and loop.

In this instance ^ forms in reality the deter-
minative of the word >^^^ ar/", " bag," and
is not employed for its phonetic value.

Fig. 28. A grape vine, ^f^ ; read \\ ^^^^^^
drp. From east end of south wall in main
chamber of Tomb 2 ; B. if., I., PI. xvii.,
seventh column from left in lowest row of
great list of offerings. H.C., 1895.

The sign represents a double stem growing
out of a pot and supported on two forked
uprights, between which are seen two bunches
of grapes hanging from the lower branch.

The word arp means "wine."

Fig. 29. A trussed goose in a basket or
bowl, ^: a picture -determinative. From
south wall of main chamber in Tomb 2 ; B. if.,
I., PI. xvii., at foot of columns eleven to fifteen
from right, in middle row of great list of
offerings. H.C., 1895.

The sign represents a trussed bird, upon
which the roots of the feathers are plainly dis-
cernible. The vessel upon which it stands may
be a basket or bowl, of wood or earthenware.

As a phonetic hieroglyph the sign ^> reads
I , " fear '' ; but it is also the determmative
of the word ^ ushn^ meaning apparently

" to pluck,'* ** to prepare birds for the table."
It is here used merely as the determinative
of the names of the five species of ducks and
geese provided in the list of offerings for the
use of the deceased Amenemhat.

Fig. 30. Hippopotamus, S;^ ; read perhaps
• J Meby or c:=5i J deb. From east wall of
main chamber in Tomb 3 : B. ii., I., PI. xxxiv.

The sign serves for the name of the hippo-
potamus.

Fig. 31 . A new-born calf, ^^^ ; read (| v^

aw, and (| a da (?). From south wall of

main chamber in Tomb 2 ; J?, fl"., I., PI. xvii.,
third column from right in top row of great
list of offerings. M.W.B., 1891.

This sign is the ordinary syllabic for n v^ du.

Fig. 32. An arrow, («©; read Hj^ sun.
From north wall of main chamber in Tomb 2 ;
B. E.f I., PI. xiii., right-hand corner at bottom,
in group ^^ (The sign has been reversed

in this figure.) H.O., 1895.

The shaft is of cane, the joints of which are
shown ; the end is feathered, and the point
was doubtless of flint set in gum.

Fig. 33. A bivalve shell, ^ ; read T
khat From east end of south wall in main
chamber of Tomb 2; B. iT., I., PI. xvii.,
sixteenth column from left in middle row of
great list of offerings, group ojo. H.C.,
1895.

This sign is certainly intended to represent
some kind of bivalve shell, of which the fau

shape !8 exaggerated ; in Petrie, Medum,
PI. xiii., bottom riglit-hatid corner, group o a ,
it hag the form of a cockle shell. Ifc may here
be noted that a small cockle was eaten largely
by the early Greek population of Naucratis : T
have not, however, seen it in connexion with
Egyptian remains.

This hieroglyph occurs, apparently, only in
the word Mat, which ia one name for a stand
of food or food offerings.

Fig. 34. A bowl or basket, "U ; read | W^
hent. From east end of south wall in main
chamber of Tomb 2; S. H., I., PI. xvii.,
columns seven to ten of lowest row in great
list of offerings, group \7 =. M.W.B., 1891.

The n seems to represent a vessel made of
wood, such as are shown in several scenes in
Tomb 2.'

The group ^ hent ^ evidently means a bowl
or cup to hold liquids, made perhaps of basket
work, but vessels of the same form 'U are also
employed for solid foods.

Compare Fig. 29.

Figs. 35 and 35(i. The A7i?ie?7i-ram,
^^; read ® ^ M»em. From south wall
of main chamber in Tomb 3; B. IL, I.,
PI. XXXV., lowest register but one in group
Q^^^ , giving name of Khnemhetep. H.C,
1895.

The jug, Q, read khnem, with long, looped

handle, and a smaller loop on the other side,

is seemingly coloured to represent alabaster,

I and has a reddened neck and lip. The animal,

' Bmi Baton, I., Fla, xi., xti.

' Compare varianta in Dumiohen, Petuamenap, I., PI. six.

HIR110OLTPH8. Pt. HI. IB

^^, which forms the determinative in this

group, is a curious hybrid of ram and goat,
the beard being characteristic of the latter and
the muzzle of the foi-mer ; but we may other-
wise concluile that the sacred animal of Khnem
was the ram rather than the goat. The
horizontal and twisted horns are very curious.
This variety of ram was predominant during
the Middle Kingdom, but appears to have
become rare or extinct at an early date, and
to have been superseded by the variety with
curved Ammon horns, which is occasionally
found in the early paintings and is now almost
universal.

The jar Q is phonetic, and ^^ is its deter-
minative; the two signs are, however, so
closely united as in reality to form but one
compound sign.

For the jar, compare Figs. 100 and 101.

Fig, 36. Necklace and pendaut, i^; read
1 — fl 3 ^ sahu (?). From south wall of main
chamber in Tomb 2; B. H., L, PI. xvii., fifth
column from right of inscription above the
figure of Khnemhetep making offerings to his
father Araenemhat. M.W.B., 1891.

The sign represents a string of beads (blue,
green, and yellow), terminating in an ornament
which apparently consists of two materials. It
was probably a badge symbolizing high office.

The reading of the sign is uncertain : it is a
title of high officials of the king and trusted
servants of private people. There is also a
verb spelt with this sign, ^^ >s>^ , " to carve,"
"to sculpture."

Compare Peteie, Medum, Frontispiece, fig. 12,
pp. 32.3.

BENT HASAN.

PIjATE IV.

Fig. 37. A cubit-rod (?), [] ; rfiad Jp ^
mao. From west end of south wall in main
chamber of Tomb 2; B. B., I., PI. xviii.,
inBcription in large characters above the lady
Hetept, in group — a y. The sign appears
to have been reversed in the copy. M.W.B.,
1891.

The hieroglyph seems to represent a mea-
suring or ruhng rod, with bevelled edge along
one side ; this edge ia shown in impossible
perspective at the end, the drawing attempting
to combine side view with end view. Such is
the opinion of Professor Petuig; see Mediim,
p. 32. In the Medu m paintings the sign
appears simply as a straight bar, and the
bevelling is not shown.

, ' — I inaa. means "straight," "correct,"
"just" (compare Isaiah xxviii. 17).

Fig. 38. A vessel or jar for wine or ale, n ,
From south wall of main chamber in Tomb 2 ;
B. H., I., PI. xvii., seventeenth column from
right in lowest row of great list of offerings,
below group ^ . H.C., 1895.

The figure represents an earthenware vessel,
the base rounded, the mouth apparently stop-
pered with some kind of plaster, marked with
spiral bands of black and white.

The word Ji=n=i, of which n here appears
to be the determinative, occurs ia the form
-4j r-n-i ^00 in Beuosch, R. It. d. Grossen
Oass PI, xvii., 11.

Fig. 39. Hooked instrument or key for
" opening the mouth " of the deceased, ]\ ,
called ^'"^D Rna kef-pesesk. From east end
of south wall in main chamber of Tomb 2;
B. H., I., PI. xvii., eighth column from left,
in top row of great list of offerings. H.C.,
1895.

The sign is a " picture-determinative," and
represents the instrument as made, apparently,
of black stone. The " opening of the mouth "
was an important ceremony in the Ritual of
the Dead,

Compare Fig. 42.

Fig, 40. A bandage, [j ; named ^^\
nn]diu. From east end of south wall in main I
chamber of Tomb 2; B. 3., I., PI. xvii.,
thirteenth column from left, in middle row of
great list of offerings. H.C., 1895.

The sign represents a strip or roll of whitish
linen, fringed at one end. Like the last, it is
a picture- determinative,

Fig. 41 . A unit line, ][. From south wall in
main chamber of Tomb 2; B. H., I., PI. xvii..,
inscription in large hieroglyphs. M.W.H.,
1891.

As here occurring, the sign has exactly the
outline of the wooden clamps used in etone
buildings, and the red colour may indicate
wood as the material.

This hieroglyph is the determinative of unity
and the symbol of a unit. Doubled it denotes

the dual, trebled tlie plural. In Petrib,
Medum, PI. svi. (table of offeringa), see also
p. 33, pieces of rope appear to represent
units. These are not, however, the ordinary
sioTis of units, but special determinative forms
in connexion with the various textile ofFerings
made to the deceased. The ordinary form of
the plain numeral may be seen on the same
plate.

Fig. 42. A key (?), 5 — ; read "^ | reteh,
® <=> Mener. From south wall in main
chamber of Tomb 2 ; B. H., I., PI. xvii., seven-
teenth column from right in top row of great
list of offerings, in group J—. In Fig. 42
the sign has, by error, been placed upright.
M.W.B., 1891.

The figure seems to represent a straight-
handled instrument coloured red for wood and
ending in two hooks — perhaps a key. It
might, however, correspond to the wooden
slave-pole by which prisoners are secured in
the interior of Africa.

The meanings of the words rete/i and Ichenc-v,
are "to imprison," " to close up," &c.

Fig, 43, w human arms ( ), read in this
case "t, ka, embracing the sign y, read
X ^ hen, the whole reading ken-ha. From
south wall of main chamber in Tomb 2 ;
B. H., I., PI. xvii., upper register right-hand
corner. M.W.B., 1891.

In this composite sign the arms represent
[_J l-a, the symbol of the ka or Double, and the
sign U hen means " servant."

The compound iiieroglyph hpn-hn signifies

HIBB0GLTPH8. Pl. TV.

servant of the lea or Double," and

For tiie sign

, see Fig. AA-.

Fig. 44. A club, 0; read § "^ hen. From
east end of south wall in maiu chamber of
Tomb 2; B. H., T., PI. xvii., foot of second
column of inscription in large characters over
Amenemhat, group J j J p. M.W.B., 1891.

The black colour of this sign would ap-
parently exclude it definitely from its usual
classification among figures of vessels ; it
rather seems to represent a club of some
hard and dark wood, such as is now brought
from the Sudan,

The principal meanings of the word ken are:
(1) "servant"; (2) "majesty," in the phrase
y hen/, *' His Majesty," as an expression

for the king.

Probably the object represented by the sign
was one of the many symbols of authority
which the monarch wielded and to which the
slave was subject.

Fig. 45. A bearer of offerings, i?^. From
south wall of main chamber in Tomb 2 ; B. H.,
I., PI. xvii., foot of sixth column from right in
top row of great list of offerings. M.W.B.,
1891.

The sign represents a man seated on the
ground, holding behind him a circular cake:
only one arm is shown in the drawing.

This is not an ordinary hieroglyph, but a
pictorial determinative of the name of the word
l]<=i''g\ ^ adat. In other lists of offerings
the mode of presentation of the adat ia indicated
by tl,e words "W %. <" ^ ''L,^^ *«. 'f-''.

BENI HASAN.

"behind," "behind tbee," following the name,'
In the present instance this direction is omitted,
but its equivalent is given by the determinative.

Fig. 46. A hide, water-skin, «*=^; read
*^ shed. From south wall of main chamber
in Tomb 2; B. E., I., PI. xvii,, second register
from top, to right, group ^^. M.W.B., 1891.

This sign has been noted, Pbteie, Medum,
Frontispiece, fig. 5, p. 30, as representing a
bide stripped from an animal, the akin of the
legs forming straps and the skin of the neck
banging down.

The principal meanings of the word shed are
a " water-skin," and " to pull," " to draw."

Fig. 47. A paddle, j ; read ^ mer.
From south wall of main chamber in Tomb 2;
B. H., I., Pis. xvii. or xviii., inscription in
large hieroglyphs, last lino. M.W.B., 1891.

The blade of the oar was made apparently
of a harder and darker wood than the shaft.
The butt end was evidently grooved, or lashed
round with cord to improve the hold or prevent
splitting.

The sign is used as a syllabic for kher,

but rarely except with the meaning " voice."

Compare Petkie, Medum, PI. xi., group 1 ■

Fig. 48. A water-jar on stand, A) ; read
^ J 8 geleh. From south wall of main
chamber in Tomb 2 ; B. E., I., PI. xvii., in-
scription of top register, to right. M.W.B.,
1891.

This sign represents a vase of red pottery
with water pouring from the spout, in a

' DfiHiCfJEN, Fe/iuamenap, PI. xxii.

wooden (?) framework stand coloured black.
Contrary to the usual practice, the water is
coloured black.

The words z J qeb, '^ J 8 qebeh, which are
written by this sign, mean " cold water,"
" coolness," &c.

Fig. 49. A bolt,—,— ; read s. From south
wall of main chamber in Tomb 2 ; B. E., I.,
PI. xvii., first column from right in top row of
great list of offerings, group © . M.W.B.,
1891.

This hieroglyph represents the wooden bolt
of folding doors as shown in wall paintings,
models of shrines, &c. The bolt was simply
passed through a loop on each door, and thus
made a temporary fastening, easily removed
altogether when the doors were throwTi open.
The projections in the middle served both as
handle and stop ; the straight black lines con-
tinued through these projections in Fig. 49 are
probably only the guiding lines of the artist,
and have no structural meaning.

The sign is alphabetic for s, and had origin-
ally a phonetic value distinct from that of u ;
but the two had become convertible before
the commencement of the Middle Kingdom.
Besides its alphabetic character, it serves also
occasionally as the determinative of the word
^^ gert, bolt.

Fig. 50. An arm, and hand grasping
spatula, \^ ; read ^ -=■ zeser. From
south wall of main cliaraber in Tomb 2 ;
B. E., I., PI. xvii., fourth column from right
in middle row of great list of offerings, group
•^. M.W.B., 1891.

HIBROaLYPHS. Pl. IV.

This hieroglyph represents a human arm,
invariably bent at an obtuse angle, the hand
holding a wooden (?) instrument with white
spatulate blade and narrow handle, having a
short cross-bar near the end. The cross-bar
is seldom seen in this hieroglyph, but occurs
on the handle of the royal sceptre at Deir el
Bahari.^ Since the word zeserty when occurring
in lists of offerings, is believed by some to
mean butter or cheese, it is further suggested
that this instrument with its white blade may
well have been a mixer or beater used in the
preparation of such food. This explanation
is, however, very doubtful. That the spatula
required a considerable amount of force in
its application is evident from the variant,
common from the earliest times, in which it
is shown as held by both hands, ^?.

Another and common meaning of the word
zeser is "sacred," "distinguished from and
prohibited to the vulgar or profane," &c.

Fig. 51. Cord (wound on stick or in a
hank), i ; read ^ c:^> ud. From east end
of south wall in main chamber of Tomb 2 ;
B. H. I., PI. xvii., lowest register, to left, group

ffil^i- M.W.B., 1891.

The figure, when compared with Fig. 61
below, has the appearance of a narrow roll of
papyrus, bound only round the centre, and
sealed with a large clay seal, which is seen
from the back; but its real nature is shown
by other examples. At M^dum Mr. Petrie
recognised in it a stick for winding string

upon, and later forms, more or less of the
type |, show the curved end of the string.
Until other coloured examples are attainable,
it will remain doubtful whether 6 represents
a hank of cord or a string wound upon a stick.
The white colour of the main portion is against
wood being the material.

The word { y "^ w^>^ variously interpreted
by different writers, can now be seen to mean
cord or hank of rope, and garland or string of
flowers and leaves. It is thus the origin of
the syllabic value ud for i .

Compare Petrie, Medum^ PI. xiv., group
"^ I (uncoloured), and p. 32.

Fig. 52. A coil of rope, ^ ; read '"^^ shen.
From north wall of main chamber in Tomb 3 ;
B, H. I., PI. XXX., second register from below
group ^. H.C., 1895.

The sign, though coloured black, presumably
represents rope, or perhaps a coil of leather
strapping.

This hieroglyph is a determinative of words
meaning "to tie," "to bind," &c. ; but the
meaning of the word shen^ which is spelled by
it, is still uncertain for us.

Fig. 53. A hand, c:=> ; read d. From
south wall in main chamber of Tomb 2 ;
B. H. I., PI. xvii., sixth column from right
in top row of great list of offerings, group
(jd^^^. M.W.B., 1891.

The hand is drawn with the palm upwards.

' NvkViLLB, Deir el Bahari, pl. xiv., &c.

^ See excellent examples in Rbc. de travaux, xyi., 98,
collected by Lorbt, who missed the meaning by a hair's
breadth.

c 2

BENI HASAN.

The length of the thumb is, as usual, curiously

The name of the hand in Egyptian is i?

det. It would seem as though this alphabetic
sign were acrophonic, i.e., that its phonetic
value is derived from the first letter of its
name.

Compare PeteiEj Medum, PI. xiii,, &c.

Fig. 54. Extended human arms holding
polishing- stone or corn-rubber, t^j? J read
n ® se^en. Prom east end of south wall
in main chamber of Tomb 2 ; B, H. I.,
PI. xvii., sixth column from left in bottom
row of great list of offerings, group ® Cj .
M.W.B., 1891. "^

The bent and extended arms are perhaps
holding the upper stone of a " saddle quern "
for triturating com ; see side view of this
operation on south side of west wall in
Tomb 2; B. H. I., PI. xii., third row from
bottom to right of false door.

The . meaning of the word sekhen appears to
be "to embrace," &c., as if with both arms.
The stone for grinding or polishing, ^^, is
probably not essential to the symbol.

Fig. 55, The shoulder and fore-leg of an
animal, i^^ ; read ^^ Jdtepsh. From south
wall of main chamber in Tomb 2; B. H., I,,
PI. xvii., long column to right in great list
of offerings, group p^j— ,^^. M.W.B.,
1891.

This sign is often called the haunch, which,
obviously, it is not. It is a picture of the
fore-leg of an ox or other animal cut off at the
shoulder joint and skinned down to the liock.

The meaning of the word ^epsk, spelt by
this sign, is "shoulder," "arm (of strength)";
but since the outline of the Egyptian scimitar
is somewhat similar to that of the shoulder and
fore-leg, this also bore the same name.

Fig. 56. Plan of a house, CI , read
per. From south wall of main chamber in
Tomb 2 ; B. H., I., PI. xvii., twelfth column in
top row of great list of offerings, group — »— .
M.W.B., 1891.

The plan is of a rectangular building, with,
entrance in the middle of one of the longer
sides. From the proportional size of the
entrance, it is clearly the plan of a single
chamber, and not of a great enclosure.

The meaning of the word per is " house,"
" chamber."

Compare Peteie, Medum, PI. xi., &c.

Fig, 57. Front view of mouth, <=>; readr.
From south wall of main chamber in Tomb 2 ;
B. H., I., PI. xvii., fourth column from right
in middle row of great list of offerings, group j
^. M.W.B., 1891.

This sign represents the mouth with open
lips.

The Egyptian name for the mouth is ?

re, and <=> was taken as the ordinary alpha-
betic sign for r. The same word means ]
" gate," " orifice," &c.

Compare Petbie, Medtim, PI. xi., &c.

Fig. 58, ^Q,; read ^ ^^^ nden. Froml
east end of south wall in main chamber of'l
Tomb 2; B. E., I., PI. xvii., ninth column -I
from left in middle row of great list of J

olT'erings, gro\ip 'k ?^= . H.C., 1695.

HIEROGLYPHS. Pl. V.

The form of this sign suggests a tube with
broad mouthpiece ; but this seems a very un-
likely product of Egyptian handicraft.

^ ^==> udeiif as a verb, apparently means

/www

" to offer," to deities or deified dead.

Fig. 59. Human arm, — a ; read a. From
south wall of main chamber in Tomb 2 ;
B. H.y I., Pis. xvii., xviii., inscription in large
hieroglyphs. H.O., 1895.

The drawing of the hand is as in Fig. 53,
but displays the back instead of the palm, and
shows the nails. In this hieroglyph the arm is
bent at right angles, invariably.

This is the ordinary alphabetic sign for a
(Hebrew J7, Arabic g) ; being an ordinary

word for the hand or arm.

Compare Fig. 17, and Petrie, Medum^
PI. xiii., &c.

Fig. 60. Human mouth viewed from side,
^ ; read ^ent (?). From south wall of main |

chamber in Tomb 3 ; B. IT., I., PI. xxx., second

urzn .

This sign is probably the phonetic equiva-
lent of £f (the nose), and thus has the value
khent, " the front," &c. In very late texts it
is equivalent to <z> = r. Fig. 57.

CHZ]

Fig. 61. Papyrus roll, ^-'^ l read
shat. From south wall of main chamber in
Tomb 2; B. IT., I., Pis. xvii. or xviii.
M.W.B., 1891.

The roll of papyrus represented is evidently
a large one, carefully bound round with a
long strap, and sealed. The sign doubtless
represents a book or long document. In
early inscriptions it is always placed hori-
zontally.

o *^ — ^^ means a book or writing. The
sign r-y-i is very common as the determinative
of abstract things, which can be described but
not pictured.

PLATE V.

Fig. 62. Battlemented building, in plan,
1,121 ; read % ^ usekAt' From east end of

south wall of main chamber in Tomb 2;

B. H.y I., PI. xvii., eighteenth column from
left in middle row of great list of offerings.
H.C., 1895.

The structure of the sign is not very in-
telligible. The thick black lines may be taken
to represent brick walls. They form three
sides of an enclosure, while three shorter walls
form a square against the inner face of one of
the side walls. This square block, which is

BENI HASAN.

crossed by a diagonal abutting against one of
the outer sides, occupies about one-half of the
open space. The architectural meaning of the
diagonal is uncertain ; but in the interior of
the pyramid of El Lahiln the rubble core is
held together by lines of masonry, of which
the principal ones are two diagonals in the
square. The white projections outlined in
red appear to represent overhanging battle-
ments of wood, such as are shown in B. H., I.,
PI. xiv.

The hioroglypb is read nsekht, which usually
means " wide chamber," " hall." In the
present instance, as often, the phonetic sign,
^ useldit, is placed within the larger sign, in
the entrance passage between the battlemented
walls.

Fig. 63, A knife or chopper, |; read ^
nem. From east end of south wall in main
chamber of Tomb 2; B. E., L, PL xvii.,
fifteenth column from left in lowest row oE
great list of offerings. M.W.B., 1891.

The blade is represented as black, with a
yellow edge. The yellow edge may be in-
tended to show the transparency of the
thinned material, or perhaps to indicate that
the cutting edge was set in a backing of some
different material. The handle is peculiar,
being in the form of an inverted cone.

The word item, spelt with this sign, has the
meanings (1) " diminution," (2) " wine-press,"
and " wine-store or cellar." It is doubtful
whether these words have any radical con-
nexion with the sign B, which is the usual
syllabic for ^ nem.

Compare Fig. 65.

Fig. 64. A fire-stick (?), ^; read
From south wall of main chamber in Torab 2 ;
B. H., I., PI. xvii., to right of lowest register,
group ^ J^^. M.W.B., 1891.

Since this example has been known to us
we have regarded the sign as representing a
fire-stick, and this view has been endorsed by
several authorities to whom it has been sub-
mitted. The two members of which the figure
is composed are evidently of wood, and the
blackened circular holes in them are strongly
suggestive of the fire-stick (see Petrie, Illahun,
Kahun, and Gurob, PI. vii., p. 11). Fire was
produced by the rapid revolution of the upper
stick upon the lower, and it is therefore
curious that holes should be indicated in the
upper as well as in the lower. But any piece
of dry wood would serve as a matrix, and
the drill itself is often turned to this use in
Australia.

The sign D is the ordinary syllabic for za.

Compare Fig. 68, and Peteie, Medum,
PI. xxviii. 1.

Fig. 65. A knife, J. As Fig 63 (but from
sixteenth column from left). H.C., 1895.

Fig. 66. A box, or chest, 1^. From east
end of south wall in main chamber of Tomb 2;
D. H., I., PI. xvii., twelfth column from left in
great list of offerings. H.O., 1895.

The box represented is made of a framework
of stout wood, filled in with thin panels; the
tops of the corner posts project; the lid is
curved.

The sign is here the determinative of the
word ''-' , box.

Fig. 67. The sceptre of Thebea, ^f ; read
^ R ■= uast (?). From south wall in main
chamber of Tomb 2 ; B. S., L, PI. xvii., fourth
column from right, in middle row of great list
of offerings. M.W.B., 1891.

The sign is composed of the sceptre zdm, or
uaSy 1, with an ostrich (?) feather added below
the head. The sceptre was evidently made
from a forked branch, the top or handle con-
sisting of a piece cut out of the trunk at the
base of the branch. The colouring is yellow-
spotted with black, as if the original object had
been covered with panther hide ; but perhaps
this mottling may indicate only the markings
of the bark.

This sign, the phonetic value of which is
uncertain, is found only in the name of the
Hermonthite nome, and of western Thebes,
which lay within that nome.

Fig. 68. A fire-stick, U za. From north
or south wall in main chamber of Tomb 3 ;
B. H., I., PI. XXX., lowest register, right-hand
end, or PI. xxxv., second register from below,
group J^^. H.O., 1895.

The sign apparently shows the drill placed
in the matrix, the drill being in this instance
represented, perhaps, as roughened by vertical
lines or facettings, and grooved round the
middle.

Compare Fig. 64.

Fig. 69. A slug(?), •i^; read/. From
south wall of main chamber in Tomb 2 ;
B. E., I., PI. xviii,, inscription in large hiero-
glyphs, group ^^- M.W.B., 1891.

This sign represents a nondescript animal,

HTEROGLTPHS. Pl. V. 23

which has often been called a cerastes or
homed snake; but the bluntness of the head,
the smallness of the mouth, and the general
form, are all against this view. The "ears"
are not like such appendages of any animal
known to us, but may probably be a remini-
scence of the contractile eye-stalks of the slug.
The form and colouring as a whole recalls
one of the large yellowish slugs met with
in Mediterranean countries, though I am not
aware that they are now
found in Egypt. The
eye in the head would
then be an absurd ad-
dition. But an animal
exactly like that of this
hieroglyph is figured by
Prissb ' (coloured pale
brown on the back and
white beneath, with
dark spots), crawling
up a papyrus stem, and
there it is evidently
intended for a slug.
The scene in which it
occurs is from a Theban tomb, at Drab Abu'l

This sign is apparently used only as alpha-
betic for /.

Compare Petkie, Medum, PI. xxiv,

Fig. 70. A knife, '^ ; read "^ set (?).
From same inscription as Fig. 69, M.W.B.,
1891.

* Hiitoire de I'Art Egyptian. The plates in pBisae are
not numbered (in ttie copy in the Edwards Library tiie

plate in question bears the number 87).

The colouring of the edge of the blade is the
same as in Figs. 63 and 65 ; the black portion
of the blade is in one piece with the curved
handle. The latter is of a form which would
have been too brittle for use if executed in
hard stone : the material coloured black must
have been either metal or wood.

The sign is apparently to be read ^ set.
Compare inscription on south architrave of
main chamber in Tomb 3 ; B. E., I., PI. xxiv.,
where this sign stands as the name of a
locality, and its meaning must be " valley,"
"ravine" — a thing cleft or, as it were, cut out
with a knife.

Fig, 71. Harpoou-head of bone, 3; read

qes, qres. From north wall of shrine.

Tomb 2; B. R., I., PI. six., top inscription,

right-hand side, group n | [^. H.C.,

1895.

The head of the harpoon is represented as
double barbed, one barb being at the point
and the other above ; in fact, it might be
called a double hook, the point beiug very
obtuse and the barbs set at a rather wide
angle, At the butt end are two pegs to
facilitate the binding of the head to a
wooden shaft. Harpoon-heads of bone are
very frequent among savage tribes,' and the
colouring of this example agrees well to that
material.

The meaning of the word ges is " bone."
The rest of the harpoon being of wood,
evidently the head was called the qes, or

BBNT EA8AK.
bom

' Ur. PsTRiE foond them o! ivory in the graves of the
" New E*ce" at NegSdeh.

of the harpoon, and hence the
picture of it served for writing the word
qes, " bone," and to express the sound qee,

qres, as a syllabic.

Fig. 72. An ostrich feather, fi ; read
V shit, and Jp madt. From east end

of south wall in main chamber of Tomb 2;
li. S., I., PI. xvii., third colunm from left, in
middle row of great list of offerings. H.C.,
1895.

The quill of the feather is well shown ; the
plumules are outlined in black, and are marked
with a brownish dash at iutervala.

The name of the feather is n'^ shut. The
root shu appears in other words with the
meanings " emptinesti," '* desert," " dryness."
The origin of its value 7H:iat, with tiie meaning
" truth," is more obscure ; but the feather was
certainly a sacred emblem, and appears from J
earliest times on the head of the goddeaa-
Maat

Fig, 73, An adze chopping, r-^; read
1 setup. From south wall in main chamber
of Tomb 2; B. H., I., PI. xvii., first column I
to right in great list of offerings. M,W.B., I
1891

The handle is represented as of choice dark
wood, with ochreous graining; the yellowisli
blade, flint or copper (?), is bound to the
handle with strong lashing. Beneath the
blade is a block of wood in which a deep
hollow has been made by the tool.

The only known meaning of the verb '^ i

Compare Petbie, Medum, PI. xi.

HUCEOGLTPHS. Pi. V.

Fig. 74. Watcliman, tjj ; read sau. From
south wall of main chamber in Tomb 2 ;
B. H., I., Ph xvii., to right in lowest register,
group ^^f^(|(l- M.W.B.,1891.

The figure represented ia probably that of
a well-cared- for servant, wearing long hair
carefully kept, and having a small square
beard. He ia seated, and to keep off the cold
as he sits he is completely wrapped to the neck
in a white garment. The hand only la free,
and holds a curved rod, near the end o£ which
is a loop, probably of cord; possibly this was
a badge of office signifying that he had the
right to beat and bind.

In this instance the group ^ ^ sau means
"herdsman," but the word waa used of other
sorts of guardians. Apparently also the same
hieroglyph is used for \\ ""* ^ ari, which
meaoB "tliat which is concerned with," often
in the sense of "an official belonging to" a
department, and so not unlike sau in meaning.

Compare Peteie, Mednvi, PL sxviii., and
p. 29.

Fig, 75, A divine lioness, ^j i read
Pakhet{?). Prom south wall of main chamber
in Tomb 2 ; B. H,, I., PI. sviii., inscription in
large hieroglyphs. M.W.B., 1891.

This sign is composed of (1) a Honess
couchant, .2a., upon (2) a base, cr?, of
angnlated outline, diminishing in width below,
and (3) the badge of divinity, j, neter. (1)
and (2) are coloured a uniform yellowish
brown. The lioness was probably a votive
Bgnre of no great size, and may have been
of stone, wood, or pottery. (3), the "1 ,
is represented in its proper colours. The

object seems to consist of a staff wrapped
round with a band of linen, the end of which
projects stiffly like a small flag. It may here be
noted that the sign 1 iieterj " god," "divine,"
is never shown in early paintings as an axe,
though axes of the same form, found in Egypt,
are well known. Compare Petkie, Medum,
PI, sxiv.

Tbe entire sign is evidently a name of the
goddess Pakbet, worshipped at the Speos
Artemidos near Beni Hasan. The uniform
colouring of lioness and base indicates that
there was no intention of portraying a real
animal, but only a sacred figure of one on a
vase, or vase-shaped stand, dedicated in the
temple of the goddess by some pious king or
nomarch.

Fig. 76. Plan of a city {?), © ; read net.
Prom south wall of main chamber in Tomb 2 ;
B. M., I., PI. xviii., inscription in large hiero-
glyphs, group J^p©. M.W.B., 1891.

This sign is formed by a thick circular
belt, coloured black, from which four double
angulated lines, also black, project symmetric-
ally into the enclosed space, leaving only a
narrow cross and four narrow chevrons white.
There can be little doubt that the sign is a
primitive symbol, highly conventionalized, and
intended to represent the plan of a village with
its streets and thick enclosing wall.

The word net means "city," "village,"
&c., and, as in the present case, © is the
determinative for names of such.

Compare Pbtbie, Medum, Pis. xi., xiii.

Fig. 77. Angulated club, |; read n^
qema, &c. From south wall of main chamber

BBNI HASAN.

in Tomb 2 ; B. H.^ I., PI. xvii., seventh column
from right in top row of great list of ofEerings.
M.W.B., 1891.

The colouring of this sign indicates that the
original object was made of black wood with
paler graining, and is suggestive of weight.
The form of the object is quite different from
that of the boomerang.

It is not obvious why this sign has the value
qema, meaning " to create." It may easily be
confused with several signs of similar outline,
but differently coloured.

Fig. 78. A loop of cord, : read shen.
From south wall of main chamber in Tomb 2 ;
B. H.y I., PI. xvii., eleventh column from right
in top row of great list of offerings. M.W.B.,
1891.

This is the regular syllabic for shen. The
meaning of the root shen^ " to encircle," is
perhaps connected with the origin of the
sign.

Fig. 79. A seated woman, ^. From
south wall of main chamber in Tomb 2;
B. H.f I.J PI. xviii., inscription in large hiero-
glyphs. M.W.B., 1891.

The woman is sitting on the ground with the
knees raised ; the whole body, to the neck, is
completely covered with a white garment. The
hair is black and long ; the colour of the skin
is redder in Mr. Blackden's copy than in the
lithograph.

The sign is used as the determinative of
feminine proper names, and of words meaning
" woman," &c.

Fig. 80. A man working a bow drill,
reading 1^ mer set. From north wall of
main chamber in Tomb 17 ; B. H.y II., PL xiv.,
vertical inscription to left. M.W.B., 1891.

The man represented is seated on the ground.
In his left hand he holds the black stone cap of
a drill, and works the drill by means of the
bow in his right hand. The object to which
the instrument is applied is the symbol of a
mountain or desert, Q£i^.

This punning hieroglyph, which is of course
unique, expresses mer set, "governor of the
desert,"^ the symbol of the desert hills, set,
being combined with a pictorial representa-
tion of the action of a drilling, and this, or the
drill itself, having probably been called mer.

Fig. 81. Sacred emblem, S ; reading un-
known. From south wall of main chamber in
Tomb 2 ; B. jff., I., PI. xvii., inscription in
large hieroglyphs. H.C., 1895.

The figure is of a short staff or club, sur-
mounted by a human head with cow's ears and
very slender horns coiled at the extremities.
Round the neck is wrapped a cloth, which
hangs in a long fold at either side. From the
uniform colouring, we may suppose that the
amulet was entirely of wood, copied in that
material from such a combination as we have
just described, and partly painted.

^ The fantastic inscription in which this hieroglyph occurs

reads: uob nek ded dniii mer-k hehu nu (?) hemut

sepd bau-k reth ^eten Khetxfy mer set dbtet, an iiert db
seten^ mery Hno hi rekhf, Khety, " Power to thee, stability

and life ! May est thou love millions of women may

thy wit be ready, O friend of the king, Khety, governor of
the Eastern deiert^ bringing the desire of the king, beloved
of Horns who smites the people, Khety I "

HIEB0GLYPH8.

PLATE VI.

Fig. 82. Priest and ape, ^;^. From
east wall of main cbamber in Tomb 14 ; S. H.,
I., p. 85. P.E.N., 1891.

A man clothed in a leopard skin, the tail
of which IB seen hanging between his legs,
is standing before a tailed cynocephalus erect
on its hind legs. The right hand of the man
is stretched out to meet the right paw of the
animal.

This curious and unique hieroglyph is the
determinative of the priestly title | 'vs, ^
Anrmet'f, "pillar or support of his mother."
Several of the hieroglyphs in the same iu-
scriptioQ are of rare form, but there is
nothing particularly playful about thenij as
in the tomb of Khety (Tomb 14), and we
may therefore conclude that this is a serious
picture of one of the functions of the An-met-f,
and not a mere rebus. The animal taking part
in this function may of course have been a man
or woman dressed in mask and skin, but the
tail contradicts the ape-hke character of the
rest of the appearance.

I ^\ ^^ An-met-/ seems to be the equivalent

I W ii \S. An-kemt, An-kenernl, " pillar or
support of keiiemt,^' of the earlier texts ; and
kenemt, according to Mr. Crum, ia probably a

species of ape.' The present hieroglyph, which
was at the time of his writing on this point
quite unknown to Mr. Crum, forms a new and
important piece of evidence as to the meaning
of the title An-met-f, and confirms in the most
striking manner his conclusion as to the mean-
ing of ^:z:^\\o. The panther skin was the
regular vestment of the An-met'f.

From the above considerations we may de-
duce the following conclusions : — (1) ^C\ °
refers to the cynocephalus as pictured in
tie hieroglyph. (2)^^, ^=^ " ■»
synonym for ^^ ^ in this title, and likewise
refers to the cynocephalus. (3) ^^^^ \s fmd
=> \S being synonymous, it is preferable
to regard them as a compound of two sub-
stantives in a genitive relation, one possessing
and one lackiuo; the genitive erponent, ««« .
(4) In early writing ":z^ often = ^J, "Double,"
so ka-met, ka-en-mei, "mother's Double,"
"Double of the mother," will be a reasonable
solution of the two forms of this word. The
early form of the title therefore described the
priest as the pillar (support) of the ha of the
mother : in the later title he is " the pillar of
his mother," the ape at first called the ka of

' Ptoc. Soe. Bib. Areh., xri., 136; ami for | "^ ^ and
I o 1^1 ■^ =, cf. LuauiNaTOH, Treau. Soc. Bib. Arch.,
VL, 526 et geqq., vii., 36C.

BBNI HASAN.

the mother being regarded later as the divine
mother of the priest officiating. The precise
significance of this female ape in the Egyptian
mythology is quite unknown.

Fig. 83. A flower W. From east wall of
main chamber in Tomb 14 ; B. ff., I., p. 85.
P.E.N.. 1891.

This rare hieroglyph forms part of a place-
name, Y c^* *°^ ^ variant of it is found in
the exterior inscription round the door of the
entrance to the main chamber in Tomb 2;
see B. jff., I., PI. vii., fifth line of architrave
inscription. In the latter instance the hiero-
glyph is of somewhat different form, and
shows three short wavy lines rising out of a
deep pot, "U. The reading is unknown, unless

it be the J % fcw of ^^ J ^ © ^^ *^® ^^^S
horizontal inscription at the top of the north
wall in main chamber of Tomb 2.^

Fig. 84. Fork, on emblem of gold pjjL .
From east wall of main chamber in Tomb 14 ;
B. H., I., p. 85. P.E.N., 1891.

The lower sign is the ornamental collar
which commonly stands alone as the sign for
nub, "gold," or grouped with other signs as
the determinative of other precious metals,
©•g- J r^ hez, " silver," J ^ (^sr\ uasem (?),
" electrum." The upper sign represents some
forked object, but its precise nature is difficult
to determine.

This unique group is from a title of Hathor,
as mistress of pJU> and probably represents a
place-name.

For f53^, compare Petbib, Medum, p. 33.

' B. U., 1., PI. xiii.

Fig. 85. Symbol of fire, [1 . From south
wall of main chamber in Tomb 2 ; B. H., I.,
PI. xvii., fourteenth column from left in middle
row of great list of offerings. H.C., 1895.

This sign shows a tall, curved, and tapering
flame (?) rising from a red disc ; below and on
each side of the disc is a short, straight-edged
and expanding projection. The sign is difficult
to interpret. The upper part probably repre-
sents a long tongue of flame curving over and
ending in a narrow downward stream of smoke
and soot.

This sign is the determinative of words
meaning " fire," '* flame," &c.

Fig. 86. A throne, jj; read U^ set^ fl «,
and ? ^ ^v^ htm. From south wall of main
chamber in Tomb 2 ; B. IT., L, PI. xvii., four-
teenth column from left in middle row of great
list of offerings. M.W.B.,- 1891.

The blue colour of this hieroglyph is some-
what inexplicable.

The word set means "seat," often with a
wide sense of locality. The sign occurs as
the symbol of Isis, whose name in Egyptian
is read set. It seems, generally, to imply a
semi- vowel or vowel before the s ; the t is not
invariably implied.

Fig. 87. A screen, )j, called ^^z^t ^^ D Jcap.
From south side of east wall in main chamber
of Tomb 3 ; B. H., I., PI. xxxiv., middle line
of long vertical inscription. M.W.B., 1891.

A picture of the fowling-screen referred to
in the inscription from which this hieroglyph is
taken is given in the centre of the same wall ;
B. H.f I., PI. xxxiii. The screen itself was pro-

BBNI

sixth column from right in bottom row of great
list of offerings. H.C., 1895.

The name of this wrinkled corn is baiit.
Mr. Carter states that in the seventh and
eighth columns yellow-coloured corn is given
for the at agl, and red for the set dgt.

Fig. 94, "Two lands," ^; read ='^^\\
taui. From south wall of main chamber in
Tomb 2; B. B., I., PI. xviii., inscription in
large characters. M.W.B., 1891.

This group is only the dual of ^=> ta,
"land," which means in general "ground,"
"earth," but also alluvial land, flat land, as
opposed to fwi j hilly undulating land, desert.
The Delta was typical for its flat alluvial land ;
but Upper Egypt also was sometimes called ta,
even at an early date, and Upper and Lower
Egypt are constantly named ^^, "the two
lands," a phonetic variant of which is i* ^i
the plants of the north and south. In course
of time the use of the word became less re-
stricted, and was frequently applied to foreign
lands.

Besides standing for ta, "land," tbe sign
= has a determinative force. Its appearance
in the groups ^^ ^ ^ ^ => has led to one
false explanation after another, even in the
latest text-books ; it is therefore worth while
to point out the fact that symbols of space
were used by the Egyptians to express ideas
of time. Thus, time-words determined by O,
the picture of the sun, not unfrequently have
31 1 added, exactly as if they were words de-
noting space, E being the usual geographical
determinative in early times. This deter-
minative indicates, perhaps, a limited space.

and so, by transference, a definite period of
time. In the word for " eternity," ^^ zet, or
reduplicated ^^ ^^ zelzet, no time- determina-
tive is used ; but tlie views in the Delta, with
boundless horizon, suggested an appropriate
idea, and =», the sign of flat land, was con-
sequently attached to these words in order to
convey the notion of unlimited time.

Fig. 95. Vase on legs. A; read fl «.«« an.
From south wall of main chamber in Tomb 2 ;
B. S., I., PI. xvu. or xviii. M.W.B., 1891.

The vase, presumably of stone, is coloured
blue ; it is supported on a pair of elongated
human legs, represented as without knees.

This is a compound symbol of a rare class.
Two explanations of it are possible, and it is
difficult to say which of the two is correct.
On the one hand, it may be explained as con-
sisting of two elements that cannot be so
combined in nature, brought together in order
to indicate a certain combination of meanings ;
for the word A an means " to carry," and this
sense is conveyed by the combination of the
idea of a vase with that of motion. On the
other hand, the sign may be simply the abbre-
viation of a picture of a man carrying a vase,
in which only the most essential parts are
preserved.

Compare Pktbie, Medum, PI. xxvii.

Fig. 96. A woman of the marshes, Vgt ;
read I seM^- From south side of east wall
of main chamber in Tomb 3 ; B. H., I.,
PI. xxxiv., inscription under cornice. H.O.,
1895.

The woman, clothed in the usual dress sus-

mfiROOLYPHS.
pended from the shoulders, holds in her right
hand a captured wild-fowl bj the wings, and
in her left a lotus flower or a bunch of water-
plants.

This hieroglyph is here used to denote the
goddess Sekhet, the goddess of the marshes,
who presided over the occupationB of the
dwellers there.' Chief among these occupations
must have been the capture of fish and fowl
and the culture and gathering of water-plants,
especially the papyrus and the lotus.

31'

Figs. 97-101. Five jars or vessels, varying
in form and material, W ^w M ^. From
south wall of main chamber in Tomb 2 ;
B. H., I., PI. xvii., columns thirteen to seven-
teen from left, in top row of great list of
offerings. H.C., 1895.

Seven vases of different sacred oils are
generally figured among the ofEerings ; the
jars here represented are vessels for contain-
ing the first five of these oils, and are in this
case used as the picture determinatives for
their names. Each jar is carefully tied up and
the knot sealed witli clay, the lid being, no
doubt, a separate disc. The stopper is made
air-tight by a large piece of material reaching
half-way down the body of the vase, and ter-
minating there in a wavy edge. This material,
which is tightly stretched and clings closely
'to the vase, is clearly the skin of a goose
or other bird from which the feathers have
been plucked.

These vessels may be classed as of three
forma. 1 and 2 are of the shape known as

■ £1 Beraheh, I., p. 31, note.

hes, a simple jar form ; and 6 and 7, which are
not given in the plate, are similar but taller.
3 has the shape of O Hh, the heart vase. 4 and
5 are of the Mnem, form, Q, i.e. jug-shaped, but
without spout, and having a loop in front
through which to pass the tie (compare Fig.
35) ; the base of one is flat, of the other
rounded.

These jars are sometimes fouud made of
wood, painted to imitate stone. The veined
white material was doubtless alabaster, the
bluish some sort of dark stone, possibly
diorite. The clouded white material of which
the O, or heart-shaped vase, is made is
difficult to determine, but it might be another
variety of alabaster.

The forms of these vessels vary in the
different lists : there seems to have been no
prescribed connexion between the shape or
material of these jars and their contents.

Figs. 102, 103. Part of the back of a
fish, jrl; read ^ kem. From south wall of
main chamber in Tomb 2 ; B. H., I., PI. xvii.,
great list of offerings, Fig. 102 iu bottom row
to left, Fig. 103 in fifth column from left of
middle row. H.C., 1895.

Fig. 103 shows fish-scales clearly, and the
spines seem to prove that the sign represents
part of the back of a fish, though the form
of the shoe is peculiar ; possibly it represents
a select morsel of the thickest portion taken
out of the back.

Fig. 102, with its blackish colour, may
represent a similar portion, viewed from the
inside, of a fish which has been cat open,
smoked and dried.

BENI HASAN.

The sign reads kem. The common meaning
of it is " black," also " to complete."

Fig. 104. A, read ^^^^ rde and c^> de.
From south wall of main chamber in Tomb 2 ;
B. jff., I., PL xvii., inscription in top register.
M.W.B., 1891.

This sign is very diflScult to explain. The

! base of the triangular figure is blue, the colour
used to represent dark stone, &c. ; the sides
are black, and the small triangle standing on
the middle of the base is likewise black. The
sign is read de and rcfe, and means " to give,"
** to place " ; it is often placed upon the hand
in the sign a n^ which has the same value
and meaning as ^.

II. THE MANUFACTUEE AND USE OP
ELINT KNIVES.

PLATES VII.— X.

The last four plates contain portions of scenes
relating to the manufacture and use of flint
knives. Plates vii. and viii. are facsimiles from
copies made by Mr. Carter and Mr. BrowQ in
1895. The work of the original paintings is
poor enough, but since they are the only scenes
of flint-working hitherto recognized as such,
they are very interesting.

Unfortunately the representations are ex-
tremely limited in scope. The processes of
flint-working were numerous and varied : the
blocks of material freshly extracted from the
limestone matrix were first roughly trimmed ;
long flakes were then taken off the cores,
adapted by chipping to the different uses for
which they were required, aud set in handles,
fitted to shafts, &c. Larger instruments, how-
ever, such as knives and spear-heads, were
usually reduced from a block, and not from
flakes. The fine implements which are found
associated with peculiar remains in certain
cemeteries between Gebel^n and Abydos, were
ground to a smooth surface before being sub-
jected to the delicate chipping which brought
them to their exquisite finished state.' But it
is doubtful whether this was the prevailing

' SrtiBitELL, Archaeological Journal, 18!
^ Frbis, Negadeh (forthcommg).

5, p. 46 ; Bee a.

process in the time of the Xllth Dynasty."
However that may be, of all the processes of
manufacture the only one illustrated in the
paintings is the final shaping of flint knives,
which, doubtless, were the most important
articles made in that material, and even within
this limitation the same attitudes are repeated.
Thus, while we admit that these scenes may
well have represented the subject sufficiently to
contemporary Egyptians, to the archaeologist
they are tantalizingly vague.

The illustrations on Pis. ix., x., are chiefly
from the south wall of Tomb 2. On the
monuments, flint knives are commonly figured
in the hands of butchers, and probably we have
in the tomb of Ameny as fine examples of this
subject as can be obtained anywhere. The
details given on PI. ix,, x., were copied by
Mr. Blackden in 1891, and the rest by
Mr. Carter and Mr. Brown in 1895; they
illustrate the process of sharpening the instru-
ments as well as the actual employment of
them in slaughtering cattle and in cutting up
the carcases.

' For specimens uf flint knives from ths end of the
XUth SjnaBty, see Pbtrib, KaJiun, PI. xvi, IlWiun,
Pis. vii., xiii., and the chapter by Mr. Spuncll, printed in
the latter memuir, p. 51 et leqq.

BENI HASAN.

PLATE VII.

CHIPPING FLINT KNIVES.

.l-'W

U.4h4

MANUFACTtTBE OF Flini Kihteh. Tomb 15,

Frttiii north wall of main chamber in
Tomb 15; B. 3.,ll.,Fl. iv.

The accompanying illuBtration shows the
complete scene with the inacription I ' % "
sekht sefii, lit. " striking knives " or " flints,"
whicli at once removes any doubt that might
exist as to the meaning of the representations.

It seems to liave been the custom for the
knife makers to work sitting on the ground,
and frequently in groups of two. Besides the
knives they have only two instruments of their
trade, an anvil and a fabricator. In group
a, b, the figure of the anvil is no longer visible,
although it probably once existed, a seems to
rest the lower end of his fabricator on this
anvil, while he strikes or presses the edge of a

knife on its upper end. b and d have nearly
the same action, easily understood : the work-
man holds the knife in his left hand, and with
his right presses the fabricator downwards
against the edge of the blade, a is apparently
pressing the knife upon the fabricator, but in
this case also the knife is held in the left hand,
and in all probability the fabricator is being
used hoiTzontally against the knife. The result
of o, b, and d's work would be the removal of
a flake of a certain kind, according to the
direction and amount of pressure, c rests the
fabricator upon the anvil while he holds up the
knife to see whether its two faces are sym-
metrical, or evenly worked. The anvil is here
coloured white.

* This and the following illuBtratione are reproduced from &b. Newberry's excellent tracings, already pablished in

the previous memoirs.

FLINT KNITES.

PLATE VITI.

CHIPPING FLINT KNIVES.

I' II " II II 'I

ANDFACTCBB OF FLIKT KbIVES, ToMB 2.

From west wall of main chamber in Tomb 2;
B. B., I„ PI. xi.

The accompanying illustration gives the
entire scene. The chipping is all done in a
downward direction. Two of the workmen
are holding up the knives to test the accuracy
of their work. The draughtsmanship is very
poor, but some interesting details are shown
in the colouring. The anvils here are all
black. It is clear that the fabricators were
tipped with some material different from that
of their shafts, for the shafts are coloured
black and the tips red. Possibly they consisted

of flint flakes set in wooden handles. Lying
about are many finished knives. All, except
those in the little heap behind the standing
figure, are provided with handles, formed by
binding round the butt end of the knife with
cord (?) worked into a little knob at the end ; '
an example is shown in colour in the plate,
Fig. 2«,

' A koifc, Ihe liaudic of which was bound with cord, vae
found at Kahim, Petrie, Itlahun, PI. xiiL, G. Presumably
the impli'monts from Kahiin were of inferior worktuanehip
to those used id the ceremonies figured at Beni Hasaa.

PLATE IX.

SHARPENING AND USE OF KNIVES.

Vi^tfc^-^

Cooes fbbpabino Meat. Tomb 2.
B. H., I., PI. lii.

Figs. 1 and 2. Kpives in the bands of
cooks dressing meat. From west wall of main
chamber in Tomb 2 ; B. H., I., H. xii. See the
accompanying illustration.

Drawing and colouring on tliis wall are alike
bad, but figs. 1 and 2 suggest that in these
instances the blades were set in wooden
handles.

Figs. 3-7. Sharpening and use of knives.
From south wall of main chamber in Tomb 2 ;
Figs. 3, 4, and 5, B. H., I., PI. xvii., seventh,
eighth, and thirteenth figures from the left;
Figs. 6, 7, PI. iviii., second and sixth figures
from the left.

In 3 and 6 a sharpener is being used ; it has

the form of a long rod, wliich is coloured black
in 3, and green in 6. Possibly the sharpener
was made of greenish or black basalt ; but the
green colour reminds one of jade. In the time
of the Old Kingdom these sharpeners were re-
presented as pierced at the end and furnished
with a loop for suspension, as in the hieroglyph
=T) . read |l izso ^i seshem (phonetic). Such
are commonly found in the paintings of that
period, but there are no loops on those de-
picted at Beni Hasan. It is curious that no
such sharpeners or fabricators have yet been
recognised in any country, and it is difficult
fully to reaUse their form and use from these
paintings alone. The knives were of course
sharpened by re*chipping the blunted edges.

BBNI HABAN.

PLATE X.
SHARPENING AND USE OF KNIVES.

Figs. 1-5. From west wall of main chamber
in Tomb 2; Fig3 1 and 5 (the last unfortunately
turned at riglit angles), PI. xviii., sixth and
seventh figures from the left; Figs. 2, 3 and i,
PI. xvii., ninth, tenth and fifth figures from the
left.

The strength and dexterity of the cooks who
cut up the carcases of oxen with these knives
must have been very considerable: in Fig &
gore is seen flowing from the gash in the
neck of the beast. The knives are of various
colours : Fig. 4 shows a very fine kind of
veined chert. The form of the handle also
varies slightly with each example. Fig. 4
represents a kuife of unusual size and per-
fection, vvhioh has a straight and slender
handle bound with rush or similar lashing.
More usually the ends are enlarged into a
knob behind the grip by means of the lashing.
The two black knives, PI. ix., Fig. 4, and PI. s.,

Fig. 2, have tiiin curved handles, diflerent from
any of the others. It may have occurred to
those who have studied these paintings that
the material of these last was blackish chert,
translucent near the edge by reason of its
thinness there; but the peculiar form of the
handles suggests some more essential differ-
ence in material. The hieroglyph Fig. 70,
PI. v., is of the same colour and form, and only
differs from them in that the handle is not
bound round. In the liieroglyph, blade and
handle are apparently of one piece ; but such
a form of implement would be very un-
serviceable in stone ; for even if the difficulties
of fashioning it were successfully overcome,
it would break directly when put to use. But
it may be that in this type of knife the blade
was composite, and consisted of a sharp flake
set with gum into a backing and handle of
dark wood.

CtTTTIRO nP OXBN. ToUB S

B. H., I., PI. xvui.

BSNI HASAH.

^ Fig. 7 owL

Figs. 9, 14 swallow.

\S Fig. 15 chick.

^ Fig. 2 ploTer.

^^ Pigs. 3, 10 plover.

"^^ Fig. 4 crested ibis (= >^).

Figs. 1, 8 flying duck.

•'^ Fig. 11 fat duck.

^^ Figs. 6, 12 goose ; compare Fig. 96.

^ Fig. 29 picture-determinative, trussed
goose (cf. ^>).

Fig. 72 ostrich feather; compare Figs.
25, 26, 67.

Fig. 24 lizard.

J^ Figs. 102, 103 part of fish (= ^czi).
n^ Fig. 69 slug.

^ Fig. 33 bivalve shell ; compare Fig.
91 (?) (= (S).

•[B*' PI. I. (p. 4) bundle of fodder.]
'^ f Figs. 92, 93 picture-determinativet com

Fi'ir. 16 papyrus clump ; compare i
Fig.96(?).

\ Fig. 19 plant (= T^).

^ Fig. 20 plant of South, sedge (?).

11 Fig. 17 radish (?) (doubled).

'Pjl Fig. 28 grape-vine on poles (= 1<J

*?(?) Fig. 83 flower (?).

in vase.

0^^ Compare Fig. 80 and p. 26.

£ PI. I. sloping ground, boundary of

Talley.

=wwy PI. I. subdivided land.
& Fig. 76 plan of city (?).

Fig. 94 flat land (dual form).

C? Fig. 88 water-basin.
fj Fig. 85 fire.

Q Fig. 76 plan of city.
Cj Fig. 56 plan of chamber.

a Fig.

5 enclosure with hawk.

f^g Fig. 62 plan of battlemented building

H Fig. 41 wooden clamp (?) unit line
(=1).

Fig. 49 bolt.

Fig. 23 boat with net (= ^)

I Fig. 47 paddle.

Fig. 21 stand with food,
Fig. 66 chest

' Not a hieroglyph^ but of the same oiigin as ^,

INDEX TO mBBOaLTPHIO SIGNS.

j| Pig. 86 throne.
} Fig. 87

screen.

\7 Pig. 34 bowl or basket ; compare
Figs. 92, 93, 62.

vj Fig. 38 picture'determinative^heer-jsv.

pot ; compare Figs. 96, 18 and 28.

Figs. 97, 98 picture - detet^minativey
unguent vase.

Fig. 99 pictnre-detei'minativey unguent
vase ; compare Fig. 21.

Fig. 35a hieroglyph (= Q), Figs. 100,
101 picture'determinativej unguent
vase.

rO Pig. 48 ewer on stand (= |v )•

Pig. 27 picture'determinative^ leather
bag (= tS).

circular cake; compare Figs. 21, 26 (P),
45.

Q loaf of bread ; compare Fig. 21.

] Fig. 71 bone harpoon-head {=\)

Fig. 32 arrow (= <-hk).

y Fig. 77 angulated club (= ]).

Fig. 44 black club ; compare Fig. 43.

I Figs. 63, 65 knife in wooden handle

* ^ Pig. 70 knife ; cf . p. 38.
Fig. 73 adze chopping.

Fig. 80 man working bow-drilL

fl Pigs. 64, 68 fire-stick (=^^ I ).

c^ Fig. 89 drill-cap (?) ; compare Fig.
25 (?).

* CIIIJ polisher or corn-rubber;* compare

Pig. 54.

\^ Fig. 50 arm with spatula (= V=^).

X Fig. 39 picture'determinative, instru-
ment for " opening the mouth."

Fig. 42 key or slave-fork (?).

Fig. 37 cubit-rod.

jKi Fig. 18 scribe's outfit.

Fig. 61 papyrus roll sealed (= '=^=^).

^ Fig. 52 coil of rope (= ^) .

i Fig. 51 hank or stick of cord (= | ).

5 Fig. 78 loop of cord ; compare Fig. 74.

(net) Compare Fig. 23.

Fig. 22 looped cord,
a Fig. 58 (?) (=

g Fig. 27 leather bag (= 15).
]j Pig. 40 linen bandage.
T Pig. 75 linen bandage.
(wrapping) Compare Pig. 81.

^ Not a hieroglyph.

4fi

BBNI HASAN.

♦ icEoi Kg. 90 band or armlet (?).

y Fig. 83 flower or ornament (?)

pjL Fig. 84 collar with fork.

^ Fig. 36 necklace and pendant (= ^(^).

4M Fig. 75 figure of divine lioness.

PI. I. oryx on stand as nome-sign.

y "'«•

81 sacred emblem.

^ Fig. 25 emblem of West.

f Fig. 26 emblem of East (= 'k ).

^ Fig. 67 sceptre of Thebes.

^ Fig. 104 (?)
Q Fig. 41 unit line.
* X Fig. 84 (?) on gold collar.

^ Fig. 58 (?) (= ^, ^)

PBIHTID BT aiLBin AMD BIYIIfGTOIf, LIMITED, ST. JOHN'S HOUSB, CLBBKBHWILL BOAD, B.a

BIRD-HIEROGLYPHS.

M.W.B.anii U.C.

^M Bei

beniH^san III. Tomb No. 2 and Tomb No. 3.

i-WPl<^^

i-^ '^^^

^^T^

il^-

<^ss--

HIEROGLYPHS.

BEW H^s/^N 111. Tomb No. 2 AND Tomb No. 3.

■f

Tombs No. 2, 3, and 17

HIEROGLYPHS.

Beni Hasan II).

Tombs No 2, 3. and 14,

Tf JA

i i^^

HIEROGLYPHS.

P.E.f/.M W.B.and H.C.

Tomb No, 2.

CHIPPING FLINT KNIVES.

Howard Carter.

FLINT KNIVES IN USE.

■« ri'T ^' !»¥>■

PUBLICATIONS OF THE ARCHAEOLOQICAL SURVEY OF EGYPT.

t I F..

Edited by F. LI. GRIFFITH, M.A., F.S.A.

iiKiikY. WiHt Ptrt'-a ".nil MussKMincuW af 'lii-
iiKmiv. Wilt Afipaudix, I*lwi» Hn<I M8a«»r*maiii*
u).) Pbhot K. Nkitbbbmt 84 Pliitfi« (S tolouwil).

I-B(..U). Bj l'w..;v K. N

I. -|;KNI HA8AN. Toj

Tombt bj Q, W. rUksvR. <;■

II.— BEKI HASAN. Purl 11. 1

Lj- R. W, P«tMli. as CUlo* i-r.oeso..-

III.— EL BKRSItEH. Purt 1. For 1892-03. H.V F. I.

IV.-EL BEIiSUBB. Part U. For lfy».t.»4. By F. U, Unimn. ,.u,l Pmct E Siwi-khbt. Will. ApF"*" ^T

v.— BEHl HASAN. Vmt HI. Vor 18tH-sr.. Uj F. Li.. Gam
tn Frtiiaratiaii.
VI,— BKNl HASAN. I'pirt IV. Fm- 1805-1)6. lly F. Lu Ghimitu. With Colouml PIMw,

10 CglouKKl Plal'W.

PUBLICATIONS OF THE EGYPT EXPLORATION FUND.

-THK STOKE CriT OF PTTHOM AND THE "f-'UTK OF THE EXOIlUa.

H,^i..,T, «).».i.iii. n PUli-., Milp ftnd Plan, Thinl .nd Kovlwd BdH""!- "s™- "»■
'. M,FUNlitB» P"r

M<'i

111 foi' IS84-a5. Bj

Miuioir tat l^Sfr-i

for 1883-81. I!y
]6 FUtec mid 'J Flana. Secoud KJition.

U.— TANIH. I'lirt
III.— NADKHATIS.
IV.-^0S^TEN/AK™HrSHRmE'o7sdFi"lil'Hr.NN M«..oi. f« 188U-8T. Bj Ef^u.^i' Nav.lL-.

II Pl«Mi Mia l'l*ii-. BMOnd Edition. 1B*». 8li». vi-tivSUPH

-TASK^ _ P.,..iL,J»al»l;,g.TIiU,__l_K. KSNBH J.^^^^^

89. By EnNKat A. tUiioNBii *t(d P Ui- UmtrrM. 24 I'UtaE wul
This Aniiiuiti'w Ot TBlI-a1-y»liaJly«I'.

W.M.

PlIWMC 1-

MiHou. 1B88- a.^

NADKRATIS. Pur

Jl,

Mmn

fitiov

yi<«

AND

THE MOUND OB" THE JEW. Ths A

*vn.u«. Dl Plntw oiri Pifiiia. leUl.

PlMb IIOO. Sb.

VU-TI1E ClTV OP ONUS

VIll.— BUBAf*TtS 'Memoir fni I Kse-aO. Bj E
tX.-TWO HIEBOOLTPHIC PAPYRI KllOM TA^ia. An ^tra VolH^n: 18(^9. it.w H

1— THEBIiiN TAFYBUS livSjrIUbuji. Rjr F. U. flun'i"".

Il.-TII V, UKOr.BArH 1041, I'APYBPS (.d .Um«.«tl. By W. ». Fmspm.. P«R.r «-^

llnil

q llmiaa

W..II1

; lHi)0-9l. By EutH'*

tn Na\i?.i.i

X.—THF FESTIVAL HAU, OF USOKKDN 11. (BMASTIS).

Wilb m> l-l&((M, 181IS. SEl.

XI.-AHNAS EL MEniNEH. Memoir for 189l-B2_ By Eroi.«uN*vii.u

By J. J, TiiOH, KrfiMnt. Jt IflWf, *S a«.

XJl.— DEIR EL liAHAKI- Mmoir frr JSSii.y,;. Oy Kw'Oj-i
XIIi-BElE Fll, HAHARl. Part I- Memoir toi 1BH3-94. By Ew.uaru N»T.l

-DEIR EI. BAHARt P«t n. Memoir lor 189^^,. ]!y B»n....i. S»mtK, D.C.L. Pl.t*. XXV.-LIV-

will, dF>a>ip»i>D. Royal fulio. WM. Wl-.

viLi.K. PKntnr E. Hewdbbut, hikI

16 I>lat» -I

ij PUm. 1894. 2r>:

, 11,0.1. Pl«t«s I,.XX1V,

XIV.—

TUB SEASON'S WOKK AT AHNAS ANh BENI HASAN. By EiwiiAii'i Njiv.u.ii,
ANNUAL ARCHAEOLOGICAL REPORTS.

KuiTKD «V F. Li-. OKIKFITU.

1-M, itiD-J ;i;i, J., ti-'. l'"i lflS3-a4, an, 6'i. •'or 18^4-93, S». "id

*|, PuilLI

A'l'LAS OF ASCIKST EOVIT. Will. LoltiTirerss midliidi-'

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